Arthur Neuendorffer
2016-10-17 09:41:21 UTC
----------------------------------------------
https://hankwhittemore.wordpress.com/2011/05/14/1230/
Titian’s Painting of “Venus and Adonis”
by Hank Whittemore
.................................
https://en.wikipedia.org/wiki/Venus_and_Adonis_(Titian,_Rome)
VENUS AND ADONIS By William Shakespeare
He sees her coming and begins to glow…
And with his bonnet hides his angry brow…
For all askance he holds her in his eye …
Now was she just before him as he sat,
And like a lowly lover down she kneels…
O what a war of looks was then between them!
Her eyes petitioners to his eyes suing,
His eyes saw her eyes as they had not seen them;
Her eyes wooed still, his eyes disdained the wooing;
And all this dumb play had his acts made plain…
Some time her arms infold him like a band.
She would, he will not in her arms be bound…
For shame, he cries, let go and let me go.
.................................
<<The author of Venus and Adonis by “William Shakespeare” (1593) describes a painting by Tiziano Vecellio, or Titian, in which Adonis wears a bonnet or cap. This was the only Titian painting with that detail and, during Shakespeare’s time, it could have been seen only at Titian’s home in Venice. William of Stratford had never left England, but Edward de Vere the 17th Earl of Oxford had traveled throughout Italy during 1575-1576 (at age twenty-five), making his home base in Venice, where Titian (1488?-1576) worked until his death on August 27, 1576.
I continue to be struck by the simplicity and clarity of this piece of factual evidence presented in an article by the brilliant scholar Dr. Noemi Magri in Great Oxford: Essays on the Life and Works of Edward de Vere (2004), a collection of papers from the De Vere Society in England. In her essay, entitled The Influence of Italian Renaissance Art on Shakespeare’s Works; Titian’s Barberini Painting: the Pictorial Source of “Venus and Adonis,” Dr. Magri writes that Titian made many replicas of his work and that Shakespeare based his poem on the only autographed replica in which Adonis wears a bonnet or hat:
“Titian’s painting was his source of inspiration, the thing that stimulated him to write a poem about this subject though he also had a thorough knowledge of Ovid … Shakespeare describes the painting in detail: he portrays the painting in words and the description is too faithful to ascribe it to mere coincidence…
“It is evident that Shakespeare’s Adonis is wearing a hat, a bonnet. The mention of the bonnet is not coincidental. This is the detail here taken as evidence of the pictorial source.”
..................................................
With one fair hand she heaveth up his *HAT* – line 351
*BONNET* nor veil henceforth no creature wear – line 1081
And therefore would he put his *BONNET* on – line 1087
..................................................
Princes, cardinals, ambassadors and the like, as well as top literary figures, “never failed to pay Titian a visit” when they came to Venice, Dr. Magri notes. His home was a kind of cultural center and such notables felt they could not leave without going to see the man who was the greatest painter of sixteenth-century Venice and, too, the first to have a mainly international clientele. To be received into his house was an honor that brought them high prestige.
“Considering de Vere’s desire for learning and his love for Italian culture, he must have felt the wish to meet him and admire his collection,” writes Dr. Magri. (She provides evidence to confirm that the autographed copy with Adonis wearing a hat, now held in the National Gallery of Palazzo Barberini in Rome, was in fact at Titian’s house during the same time Oxford was in Venice.)
In the lines above, Shakespeare writes that Adonis looks at Venus all askance, which, Dr. Magri observes, “is a faithful and precise description of Adonis’ posture in the painting.” Moreover their glances are “the central motif of the painting” and Shakespeare “has retained the dramatic pictorial element” in his description of their eyes such as “Her eyes petitioners to his eyes suing,” etc.
Also Shakespeare’s reference to all this dumb play is an accurate description: the play they have performed “is a dumb one since their words are not to be heard.” The two protagonists, Venus and Adonis, “are not acting on a stage: they are painted on the canvas.”
Dr. Magri even notes how Venus, reacting angrily to Adonis’s resistance, bursts out a clear reference to the painted image of him:
Fie, lifeless picture, cold and senseless stone
Well-painted idol...>>
------------------------------------
http://tinyurl.com/q9tkyys
.
Shake-speare's "Venere e Ad[O]n[E]" is about:
..............................
"Anne de Vere / [E.O.]"
------------------------------------
http://tinyurl.com/okjju6s
(L)U(C)R{E|C)E is about:
.......................
. (C)
. {U E R E}
. (C)
. (L)
--------------------------------------------------------------
DECEMBER 19, 1571: Edward de {UERE} married Anne, the love-sick
daughter of William (C){E}(C)i(L), Lord (*TREASURER*: 1572-1598)
........................................................
DECEMBER 19: The Roman festival of *OPALIA*
Anne Cecil age 15 = *OPHELIA/OPALIA*
<<The major temple was of OPS Capitolina, on the Capitoline Hill,
where Caesar had located the *TREASURY*.>>
<<OPS (Opis) The Roman goddess of the earth as a source of fertility,
and a goddess of abundance and wealth in general (her name means
"PLENTY"). As goddess of harvest she is closely associated
with the god Consus. She is the sister and wife of Saturn.>>
----------------------------------------------------------
The Faerie Queene Dedicatory Sonnets
http://www.bartleby.com/153/31.html
.
To the right honourable the Lo.
Burleigh, Lo. high Threasur{E}r of England.
.
TO you, right noble Lord, whose {C}arefull brest
To menage of most graue aff{A}ires is bent,
And on whose mightie shoulde{R}s most doth rest
The burdein of this kingd{O}mes gouernement,
As the wide compasse of t{H}e firmament,
On Atlas mighty shoulders is upstayed;
..........................................
To the right honourable the Lo.
Burleigh, Lo. high <= 35 =>
Threasur {E|R]o fEnglandTOyourightnobleL
ordwhose {C|A]r efullbrestTomenageofmost
graueaff {A|I]r esisbentAndonwhosemighti
eshoulde {R|S]m ostdothrestTheburdeinoft
hiskingd {O|m e]sgouernementAsthewidecom
passeoft {H|E]f irmamentOnAtlasmightysho
uldersis u p s tayed;
{HORACE} -35
..........................................
http://en.wikipedia.org/wiki/Horace
<<{HORACE} tells us far more about himself, his character, his development, and his way of life than any other great poet in antiquity. Ben Jonson put {HORACE} on the stage in his 1601 satire on John Marston: Poetaster. {HORACE}'s part evinces the independent spirit, moral earnestness and critical insight.>>
............................................
Unfitly I these *YDLE* rimes present,
The *LABOUR* of lost time, and *WIT* vnstayd:
.
Yet if their *DEEPER SENCE* be inly wayd,
And the *DIM VELE, with which FROM COMUNE VEW*
The[I]r *fairer parts are hid, asi[D]e be {L}ayd* .
Perhaps not vain[E] the might appeare to {Y}ou.
S[U]ch as they be, vou{C}hsafe th[E]m to receav{E},
And wipe thei[R] fault{S} out of your *censur[E] G{R}AVE* .
............................................
. <= 20 =>
.
. i f t h e i r*D E E P E R S E N C E*b e
. i n l y w a y d,A n d t h e*D I M V E L
. E,w i t h w h i c h F R O M C O M U N E
. V E W T h e(I)r f a i r e r p a r t s a
. r e h i d a s i[D]e b e{L}a y d P e r h
. a p s n o t v a i n[E]t h e m i g h t a
. p p e a r e t o{Y}o u S[U]c h a s t h e
. y b e v o u{C}h s a f e t h[E]m t o r e
. c e a v{E}A n d w i p e t h e i[R]f a u
. l t{S}o u t o f y o u r c e n s u r[E]G
. {R}A V E
.........................................
{LEYCES,R.} 18
[DEUERE] 22 : Prob. at end ~ 1 in 375
{LEYCES} Prob. at end ~ 1 in 3825
-----------------------------------------------------------------------
http://tinyurl.com/j9kpepb
The Cambridge Edition of the Works of Ben Jonson
by David Bevington
<<Of course, Poetaster has much else to recommend it to Jonson readers, but the play’s reputation is nevertheless inevitably tied to its role in the War of the Theatres. As such, it was destined to receive little subsequent attention on stage. Whereas Every Man In His Humour, Every Man Out of His Humour, and some of Jonson’s other early plays lived on theatrically into succeeding centuries, Poetaster disappeared from the record of performances until 26-7 April of 1916, when William Poel, visionary antiquarian of the English stage, mounted three performances in two venues. The first performance took place on 26 April in the Apothecaries’ Hall, located in Water Lane, Blackfriars, quite close to the original location of the Blackfriars playhouse. Originally a priory for the Dominicans (or Black Friars), the hall served for a time as a residence for Henry Brooke, Lord Cobham until it passed to the crown on his conviction in 1603 for his complicity in a plot to place Arabella Stuart on the English throne. The hall then seems to have been Esmé Stuart's town house, where Jonson himself had lodged, more or less next door to the Blackfriars playhouse. Lady Frances Howard stayed there under house arrest during her trial in 1616 for the murder of Sir Thomas Overbury. After having been destroyed in the Great London Fire of 1666, the hall was rebuilt in 1672 and remains standing today.
Two notices appeared in the London Times for 31 March 1916. The first, entitled ‘Shakespeare as Character in a Play’, described the production as Poel’s contribution to a celebration of the tercentenary of Shakespeare’s death in 1616, noting that in the previous ten or twelve years, the play had attracted a good deal of attention from Shakespeare scholars, including a 1905 edition from Yale by Herbert Mallory. What particularly caught the reviewer’s eye was the putative identification of VIRGIL with Shakespeare, along with other topical associations, especially Horace with Jonson himself, Crispinus with Marston, Demetrius with Dekker, and Histrio and his players with the Lord Chamberlain’s acting company. The reviewer noted with scholarly satisfaction that ‘Mr Poel’s performance will reproduce the conditions that prevailed when the play was first produced by the Children of the Chapel Royal in 1601’, thus underscoring the appropriateness of Hamlet’s alluding to ‘an eyrie of children, little ayases’, etc.
The second notice, in the same issue of The Times, entitled ‘An Elizabethan Revue of Ben Jonson’s Poetaster’, noted that the presentation before the Shakespeare League took place on ‘almost the same spot’ as that of the 1601 first performance, in ‘the fine Jacobean Hall of the Apothecaries’ Society in Water-lane, Blackfriars, which stands close to Playhouse-yard at the back of The Times Office, where once was the famous Blackfriars playhouse’. As in the other review notice, this one seems most fascinated by the question, ‘Where does Shakespeare come in?’ Virgil, as the ‘almost more than human poet whom the Emperor Augustus sat at his right hand’, seemed to the reviewer the most appropriate choice. In the performance itself, we are told, Virgil was ‘“made up” as Shakespeare, so that there could be no mistake’. Horace was no less visually presented as Jonson, together with the ‘scoundrelly Poetasters’, Crispinus and Demetrius, as Marston and Dekker.>>
-----------------------------------------------------------------------
The *Swan of Mantua* : VIRGIL.
Virgil's tomb, once treated like a shrine, has disappeared.
His epitaph was supposedly:
Mantua me genuit, Calabri rapuere, tenet nunc Parthenope.
Mantua GAVE me BIRTH, the Calabrians took me, now Naples holds me;
-----------------------------------------------------------------------
IVDICIO [P]YLIVM, GENIO [S]OCRATEM, ARTE [M]ARONEM,
TERRA TEGIT, POPVLVS MAERET, OLYMPVS HABET.
("In judgement a *Nestor*, in wit a *Socrates*, in art a *Virgil*
the earth buries him, the people mourn him, Olympus possesses him")
---------------------------------------------------
Sweet *SWAN* of A\V\on! what a sight it w\E\re
To see thee in ou\R\ waters yet appear\E\,
..............................................
_______ <= 15 =>
.
. S w e e t s w a n o f A \V\ o n!
. w h a t a s i g h t i t w \E\ r
. e T o s e e t h e e i n o u \R\
. w a t e r s y e t a p p e a r \E\
.
\VERE\ 16 : Prob. (in couplet) ~ 1 in 47
..................................................
And make those flights upon t{He} bankes of Tha[M]es,
That so did t[A]ke Eliza, and ou[R] James !
B{U}t stay, [I] se{E} thee in th{E} [He]misphe{R}e
Advanc'd, and made a Constellation t{He}re !
................................................
_______ <= 13 =>
.
. A n d m a k e t h o s e f
. l i g h t s u p o n t {H e}
. b a n k e s o f T h a [M]e
. s T h a t s o d i d t [A]k
. e E l i z a a n d o u [R]J
. a m e s B{U}t s t a y [I|S)
. e{E}t h e e i n t h{E}[H e]
. m i s p h e{R}e A d v a n
. c'd,a n d m a d e a C o n
. s t e l l a t i o n t {H e}r e !
....................................................
[MARI.H(e.)] 13 : Prob. at end (skip<14) ~ 1 in 2525
.......................................................
THE LA. [MARI]e [H(e.)]r(be)rt COUNTESSE OF PEMBROOKE.
.
. http://tinyurl.com/zf6kjzl
.
The swans on the collar look suspiciously prominent.
..................................................
<<Fulke Greville lived in Warwick Castle on
the River Avon and his family's crest was a *SWAN*.
He frequented Mistress Quyney's Stratford tavern
(and the Bear and the *SWAN*).>>
------------------------------------------------------
[M]r. William S(H)AK<ES>P(E|A|R}ES
Comedi(E)s, H{I}st(O|R|I|E}s & T{R}ag{E}d(I|E}s,
<P|U}b(L|I|S)h{E}d accor(D)ing to t[He] Tr{U}e Orig(I)nall Co<PIES>
...............................................
_________ <= 17 =>
. [M]R.W i l l i a m S (H) A K <E S> P(E)
. [A|R}E S C o m e d i (E) s,H <I> s t(O)
. [R|I|E}s&T{R}a g{E}d (I){E}s <P>{U}b(L)
. [I|S)h{E}d a c c o r (D) i n g t o t
. [H e}T r{U}e O r i g (I) n a l l C o
. <P I E S>.
..........................................
[MARI.H(e.)] 17 : Prob. ~ 1 in 4174
-------------------------------------------------------
_________ <= 17 =>
. [M]R (W) H A L L {H} A P P I N E S S E
. [A]N (D) T H A T {E} T {E}R N I T I E P
. [R]O M I S E D {B}(Y){O}V R E V E R L
. [I]V I N G P O {E}(T){W}I S H E T H T
. [H e] W E L L W I (S){H}I N G A D V{E}
. N T V R E R I N S E T T I N G F{O}
. R T H T T
..........................................
[MARI.H(e.)] 17 : Prob. ~ 1 in 10,000
--------------------------------------------------
In his Frontline essay, William Murphy
mentions *THOMAS LODGE* once and only once:
......................................................
Thirty-Six Plays in Search of an Author
by William M. Murphy, Union College Symposium 1964
.............................................................
There are those, like Delia Bacon, who are afflicted with what
has been called the "Corporation Syndrome," holding that such
distinguished literature must be the work of a commi[T]tee.
Its members wou[L]d include, in additi[O]n to BACON and Oxfor[D],
Robert GREENE, Geor[G]e PEELE, Samuel DANI[E]L, Thomas NASHE,
*THOMAS LODGE*, Michael Drayton, and Thomas Dekker.
....................................................
_________ <= 17 =>
.
. m u s t b e t h e w o r k o f a c
. o m m i [T] t e e.I t s m e m b e r
. s w o u [L] d i n c l u d e,i n a d
. d i t i [O] n t o B a c o n a n d O
. x f o r [D] R o b e r t G r e e n e,
. G e o r [G] e P e e l e,S a m u e l
. D a n i [E] l,T h o m a s N a s h e,
.*T H O M A S L O D G E*
[T.LODGE] 17 : Prob. stuck on *THOMAS LODGE* ~ 1 in 100,000
-------------------------------------------------
Ben Jonson (1623) _To the Memory of Shakespeare_
.............................................
My Shakespeare, rise; I will no{T LODGE} thee by
Chaucer, or Spenser, or bid Beaumont lye
A little further, to make thee a roome :
Thou art a Moniment, without a TOMBe,
......................................................
Shine *FORTH*, thou Starr{E O}f Poets, and wi[T]h rage,
Or inf[L]uence, chide, [O]r cheere the [D]rooping Sta[G]e;
Which, sinc[E] thy flight fro' hence, hath mourn'd like night,
And despaires day, but for thy Volumes light.
.............................................
. <= 11 =>
.
. S h i n e*F O R T H* t
. h o u S t a r r{E O} f
. P o e t s,a n d w i [T]
. h r a g e.O r i n f [L]
. u e n c e,c h i d e,[O]
. r c h e e r e t h e [D]
. r o o p i n g S t a [G]
. e;W h i c h,s i n c [E]
. t h y f l i g h t
.
[T LODGE] 11 : Prob. at end of poem ~ 1 in 18,000
..................................................
(Shortest positive ELS [T LODGE] skip in KJV = 25)
-------------------------------------------------------------
david kathman wrote:
<<In 1596, *THOMAS LODGE* in his *WITS MISERy* mentioned
the "ghost which cried so MISERably at the Theatre,
*like an OISTER-WIFE*, 'HAMlet, REVEnge'.">>
---------------------------------------------------------------
http://en.wikipedia.org/wiki/Thomas_Lodge
<<THOMAS LODGE (1558 - September 1625) was an English dramatist.
He was born at West HAM, the second son of Sir Thomas Lodge,
who was Lord Mayor of the City of London in 1562-1563.
Young Thomas served as *PAGE* to the Stanleys, Earls of Derby,
until approximately 1571, when he enrolled in the
Merchant-Taylors' School. From there he went on to
Trinity College, Oxford, where he took his degree in 1577.>>
------------------------------------------------------
Source: http://tinyurl.com/lju45g7
https://archive.org/stream/poeticalworksofw00bass#page/114/mode/2up
.
. ELEGY ON SHAKESPEARE,
. From Lansdowne MS.(777) TEMP. James I.
......................................................
. On Mr. Wm. Shakespeare
. HE DYED IN APRILL 1616
.
. Renowned Spencer lye a thought more nye
. To learned Chaucer, and rare Beaumond lye
. A little neerer Spenser, to make roome
. For *SHAK{E}SPEARE* in your threefold, fowerfol{D} Tombe.
.(To LODGE) all fowre in one bed m{A}ke a shift
. Untill Doomesdaye, for ha{R}dly will a sift
. Betwixt ys day and yt {B}y *FATE* be slayne,
. For whom your Curta{I}nes may be drawn againe.
. If yoUr prec{E}dency in death doth barre
. A *FOURTH* place in your sacred sepulcher,
. Under this carved marble of thine owne,
. Sleepe, rare Tragœdian, Shakespeare, sleep alone;
. Thy unmolested peace unshared Cave,
. Possesse as Lord, not Tenant, of thy Grave,
. That unto us & others it may be
. Honor hereafter to be layde by thee.
- Wm. Basse
.....................................
_______ <= 30 =>
.
. For*SHAK{E}SPEARE* inyourthreefoldf
. owerfol {D} TOMBE ToLODGEallfowrein
. onebedm {A} keash iftUntillDoomesda
. yeforha {R} dlywi llasiftBetwixtysd
. ayandyt {B} yFATE beslayneForwhomyo
. urCurta {I} nesma ybedrawnagaineIfy
. oUrprec {E} dency indeathdothbarreA
. FOURTHp l acEin yoursacredsepulcher
.
{E.DARBIE} 30 : Prob. ~ 1 in 10,300
..........................................................
http://quod.lib.umich.edu/e/eebo/A12017.0001.001?view=toc
<<The most lamentable Romaine tragedie of Titus Andronicus
As it was plaide by the right honourable the {E}arle of {DARBIE},
*Earl of PEMBROOKE* , and Earl of Sussex their seruants.
London: Printed by Iohn Danter, and are to be sold by
Edward White & Thomas Millington, at the little North
doore of Paules at the signe of the Gunne, 1594.>>
.....................................................
(Shortest positive ELS {DARBIE} skip in KJV = 33)
------------------------------------------------------
http://pages.uoregon.edu/rbear/muses.html
. THE TEARES OF THE MUSES (1591) BY ED. Sp.
. (dedicated to *[ALICE S]PENCER*, Countess of Derby)
.......................................................
All places th{EY} with follie have possest,
And with vaine toyes the vulgar[E] entertaine;
But me have banished, with all the rest
That whi[L]ome wont to wait upon my traine,
Fine Counterfesaunce and u[N]hurtfull Sport,
Delight and Laughter deckt in seemly sort.
[A]ll these, and all that els the comick stage
With seasoned wi[T] and goodly pleasance graced,
By which mans life in his like[S]t image
Was limned *FORTH*, are wholly now defaced;
And those s[W]eete wits which wont the like to frame
Are now despizd, and made a laughing game.
And he, the man whom Nature selfe had made
To mock her selfe, and *TRUTH* to imitate,
With kindly counter under *MIMICK SHADE* ,
Our p{LE(a)SANT WILLY}, ah! *IS DEAD* of late:
With whom all joy and jolly meriment
Is also deaded, and in dolour drent.
...................................................
. p{LE(a)SANT WILLY}
. {WILL STANLEY}
.......................................................
______ <= 49 =>
.
. Allplacesth {E/Y} withfolliehavepossestAndwithvainetoy
. esthevulgar [E] entertaineButmehavebanishedwithallthe
. restThatwhi [L] omewonttowaituponmytraineFineCounterf
. esaunceandu [N] hurtfullSportDelightandLaughterdeckti
. nseemlysort [A] lltheseandallthatelsthecomickstageWit
. hseasonedwi [T] andgoodlypleasancegracedBywhichmansli
. feinhislike [S] timageWaslimnedFORTHarewhollynowdefac
. edAndthoses [W] eetewitswhichwonttheliketoframeArenow
. despizdandm a dealaughinggame
.
[W.STANLE/Y}] -49 :
Prob. near to {Our p-LE(a)SANT WILLY} ~ 1 in 32,000
...................................................
In stead thereof scoffing Scurrilitie,
And scornfull Follie with Contempt is crept,
Rolling in rymes of shameles ribaudrie
Without regard, or due decorum kept;
Each idle wit at will presumes to make,
And doth the learneds taske upon him take.
But that same gentle spirit, from whose pen
Large streames of honnie and sweete nectar flowe,
Scorning the boldnes of such base-borne men,
Which dare their follies *FORTH* so rashlie throwe,
Doth rather choose to sit in idle cell,
Than so himselfe to mockerie to sell.
---------------------------------------------------
http://www.bartleby.com/331/186.html
.
. Rosalynde (1590) by *THOMAS LODGE*
_Phoebe's Sonnet, a Reply to Montanus' Passion_
When Love was first begot,
And by the *moVER's WILL*
Did fall to human lot
His solace to fulfil,
Devoid of all deceit,
A chaste and holy fire
Did quick[E]n man's conce[I]t,
And women's [B]reast inspi[R]e.
The gods th[A]t saw the goo[D]
That mortal{S} did approve,
{W}ith kind and holy mood
Began to talk of Love.
...................................
. <= 11 =>
.
. D i d q u i c k [E] n m
. a n's c o n c e [I] t,A
. n d w o m e n's [B] r e
. a s t i n s p i [R] e.T
. h e g o d s t h [A] t s
. a w t h e g o o [D] T h
. a t m o r t a l {S} d i
. d a p p r o v e,{W} i t
. h k i n d a n d h o l
. y m o o d
.
[{W.S.} DARBIE] -11 : Prob. in song ~ 1 in 3,650,000
.......................................................
But during this accord,
A wonder *STRANGE* to hear,
Whilst Love in deed and word
Most faithful did appear,
False-semblance came in place,
By Jealousy attended,
And with a double face
Both love and fancy blended;
Which made the gods forsake,
And men from fancy fly,
And maidens scorn a make,
Forsooth, and so *WILL I*.
..................................................
. Epilogue _ROSALYNDE OR, EUPHUES' GOLDEN LEGACY_
.
If you grace me with that favor, you encourage
me to be more forward; and as soon as I have
overlooked my labors, expect the Sailor's Calendar.
.
. *T. LODGE. FINIS*
-----------------------------------------------------------
Was *THOMAS LODGE* the *PAGE* that served W.S.'s WIT?
........................................................
Job 31:32 The *STRANGER* did no{T LODGE} in the street:
. but I opened my doores to the trauailer.
-----------------------------------------------------
Henry IV, Part 1 (Quarto 1, 1598) Act I, scene iii
.
EARL OF WORCESTER: Peace coosen, say no more.
. And now *I WILL UNCLASPE a SECRET BOOKE* ,
. And to your quicke conceiuing discontents
. Ile read[E] you matter deepe and daun[G]erous,
. As full of perill an[D] aduenterous spirit,
. As to [O]rewalke a Current roring [L]owd,
. On the vnstedfast foo[T]ing of a *SPEARE*.
....................................................
____ <= 22 =>
. *U N C L A S P E a S E C R E T B O O K E*, A n
. d t o y o u r q u i c k e c o n c e i u i n
. g d i s c o n t e n t s I l e r e a d[E] y o
. u m a t t e r d e e p e a n d d a u n[G] e r
. o u s,A s f u l l o f p e r i l l a n[D] a d
. u e n t e r o u s s p i r i t,A s t o[O] r e
. w a l k e a C u r r e n t r o r i n g[L] o w
. d,O n t h e v n s t e d f a s t f o o[T] i n
. g o f a*S P E A R E*.
[T LODGE] -22 (one of 6 *SPEARE*s) (only *SECRET BOOKE*)
----------------------------------------------------------
Sketch Book of Geoffrey Crayon, Gent. by Washington Irving.
http://www.bartleby.com/109/6.html
THE MUTABILITY OF LITERATURE.
A COLLOQUY IN WESTMINSTER ABBEY.
I had taken down a little thick quarto, curiously bound in
parchment, with brass *CLASPS*, and seated myself at the table
in a venerable elbow-chair. Instead of reading, howEVER, I was
beguiled by the solemn monastic air and lifeless quiet of the
place, into a train of musing. As I looked around upon the old
volumes in their mouldering covers, thus ranged on the shelves
and apparently nEVER disturbed in their repose, I could not but
consider the library a kind of literary catacomb, where authors,
like mummies, are piously entombed and left to blacken and
moulder in dusty oblivion.
While I sat half-murmuring, half-meditating, these unprofitable
speculations with my head resting on my hand, I was thrumming
with the other hand upon the quarto, until I accidentally
loosened the *CLASPS*; when, to my utter astonishment, the
little book gave two or three yawns, like one awaking from
a *DEEP* sleep, then a husky hem, and at length began to talk.
............................................................
“Ah,” said the little quarto, with a heavy sigh, “I see how it is;
these modern scribblers have superseded all the good old authors.
I suppose nothing is read now-a-days but Sir Philip Sydney’s Arcadia,
Sackville’s stately plays, and Mirror for Magistrates, or the fine-
spun euphuisms of the ‘unparalleled John Lyly.”’
“There you are again mistaken,” said I; “the writers whom you
suppose in vogue, because they happened to be so when you were last
in circulation, have long since had their day. Sir Philip Sydney’s
Arcadia, the immortality of which was so fondly predicted by his
admirers, and which, in truth, is full of noble thoughts, delicate
images, and graceful turns of language, is now scarcely ever
mentioned. Sackville has strutted into obscurity; and even Lyly,
though his writings were once the delight of a court, and apparently
perpetuated by a proverb, is now scarcely known even by name.
............................................................
"My very good sir," said the little quarto, yawning most drearily
in my face, "excuse my interrupting you, but I perceive you are
rather given to prose. I would ask the fate of an author who
was making some noise just as I left the world. His reputation,
however, was considered quite temporary. The learned shook their
heads at him, for he was a poor, half-educated varlet, that knew
little of Latin, and nothing of Greek, and had been obliged to
run the country for deer-stealing. I think his name was
Shakespeare. I presume he soon sunk into oblivion."
"On the contrary," said I, "it is owing to that *VERy man* that
the literature of his period has experienced a duration beyond the
ordinary term of English literature. There rise authors now and
then who seem proof against the mutability of language because
they have rooted themselves in the unchanging principles of
human nature. They are like gigantic trees that we sometimes
see on the banks of a stream, which by their vast and *DEEP* roots,
penetrating through the mere surface and laying hold on the VERy
foundations of the earth, preserve the soil around them from
being swept away by the EVER-flowing current, and hold up many
a neighboring plant, and perhaps WORTHless WEED, to perpetuity.
Such is the case with Shakespeare, whom we behold defying the
encroachments of time, retaining in modern use the language and
literature of his day, and giving duration to many an indifferent
author, merely from having flourished in his vicinity. But even
he, I grieve to say, is gradually assuming the tint of age,
and his whole form is overrun by a profusion of commentators,
who, like clambering vines and creepers, almost
*bury the NOBLE plant* that upholds them."
.........................................................
{W}hat (D)reary waste{S} of m(E)taphysics! H[E]re a(N)d there o(N)ly
[D]o we behold th(E) he[A]ven-illumine(D) ba[R]ds, elevated like
[B]eacons on their w[I]dely-separated h[E]ights, to transmit
the pure light of poetical intelligence from age to age."
I was just about to launch *FORTH* into eulogiums upon the poets
of the day, when the sudden opening of the door caused me to
turn my head. It was the VERgEr, who came to inform me that
it was time to close the library. I sought to have a parting
word with the quarto, but the worthy little tome was silent;
the *CLASPS* were closed: and it looked perfectly
unconscious of all that had passed.
.........................................................
. <= 15 =>
.
. {W} h a t(D)r e a r y w a s t e
. {S} o f m(E)t a p h y s i c s!H
. [E] r e a(N)d t h e r e o(N)l y
. [D] o w e b e h o l d t h(E)h e
. [A] v e n-i l l u m i n e(D)b a
. [R] d s,e l e v a t e d l i k e
. [B] e a c o n s o n t h e i r w
. [I] d e l y-s e p a r a t e d h
. [E] i g h t s,t o t r a n s m i
. t t h e p u r e l i g h t o f
. p (O)e t i c a l i n t e l l i
. g (E)n c e f r o m a g e t o a
. g e.
.
(NED) -15,15 : Prob. both in array ~ 1 in 150
[{W.S.} E.DARBIE] 15
.
Prob. of [{W.S.} E.DARBIE] in last 2 sentences ~ 1 in 57,000,000.
---------------------------------------------------------------
http://lgbt.wikia.com/wiki/Esm%C3%A9_Stewart,_1st_Duke_of_Lennox
<<{E}smé [STEWART](1542 – 26 May 1583), 1st Duke of Lennox,
was the son of John Stewart, 5th Lord of Aubigny. Sir James
Melville described him as "of nature, upright, just, and gentle".
At the age of 37 {E}smé was introduced to the 13-year-old James VI of Scotland
at the time when the latter made his formal entry into Edinburgh. The two
became extremely close and it was said by an English observer that "from the
time he was 14 years old and no more, that is, when the Lord Stuart came into
Scotland... even then he began... *to CLASP* some one in the embraces of his
great love, above all others" and that James became "in such love with him
as in the open sight of the people often he *WILL CLASP* him about the neck
with his arms and kiss him". This affair was to lead to Stewart's return
to France and early death in 1583.
The King first made Stewart a gentleman of the bedchamber, then went on to the Privy Council. He was created 1st Earl of Lennox, on 5 March 1580, and finally 1st Duke of Lennox on 5 August 1581. In Presbyterian Scotland the thought of a Catholic duke irked many and Lennox had to make a choice between his Catholic faith or his loyalty to James. At the end Lennox chose James and the king taught him the doctrines of Calvinism. The Scottish Kirk remained suspicious of Lennox after his public conversion and took alarm when he had James Douglas, 4th Earl of Morton tried and beheaded on charges of treason. The Scottish ministry was also warned that the duke sought to “draw the King to carnal lust.”
In response the Scottish nobles plotted to oust Lennox. They did so by luring James to Ruthven Castle as a guest but then kept him as prisoner for ten months. The Lord Enterprisers forced him to banish Lennox. The duke journeyed back to France and kept a secret correspondence with James. Lennox in these letters says he gave up his family "to dedicate myself entirely to you"; he prayed to die for James to prove "the faithfulness which is engraved within my heart, which will last forever." The former duke wrote "Whatever might happen to me, I shall always be your faithful servant... you are alone in this world whom my heart is resolved to serve. And would to God that my breast might be split open so that it might be seen what is engraven therein."
James was devastated by the loss of Lennox. With his return to France, Lennox had met a frosty reception as an apostate. The Scottish nobles had believed they that would be proven right in their convictions that Lennox's conversion was artificial when he returned to France. Instead the former duke remained Presbyterian and died shortly after, leaving James his embalmed heart. James had repeatedly vouched for Lennox's religious sincerity and memorialized him in a poem called "Ane Tragedie of the *PHOENIX*", which said he was like an exotic bird of unique beauty killed by envy.>>
------------------------------------------------------
The SUSAN Constant: May 26
...................................................
May 26, 604 1st Archbishop of Canterbury AUGUSTINE dies
May 26, 1583 {E}smé {STEWART} 1st Duke of Lennox dies
May 26, 1583 SUSANna Shakespeare Hall born
_____________ (after a 26 week gestation!)
May 26, 1587 SUSANna Vere Herbert born
May 26, 1599 (HENRY) PORTER disappears
May 26, 1609 Fighting FRANCIS Vere dies
May 26, 1703 Samuel Pepys ( *PEEPS* ) dies
-----------------------------------------------------------------
http://en.wikipedia.org/wiki/Esm%C3%A9_Stewart,_3rd_Duke_of_Lennox
<<{E}smé {STEWART}, 3rd DUKE of Lennox (1579 - 30 July 1624)
was the son of {E}smé {STEWART}, 1st DUKE of Lennox.
He was a patron of the playwright *BEN JONSON*,
who lived in his household for five years.
......................................................
He died & was interred, on *August 6, 1624* in Westminster Abbey.>>
.............................................................
<<On August 6, 1623, Anne Hathaway dies in Stratford>>
.............................................................
<<On August 6, 1623, longtime friend & protector of Galileo
Maffeo Barberini was elected Pope Urban VIII.>>
---------------------------------------------------------------
On the 14th anniversary of Anne Hathaway's death [August 6, 1637]
Ben Jonson was BURIED UPRIGHT against the wall of his crypt.
'Two feet by two feet will do for all I want'. - Jonson
---------------------------------------------------
*the T{urtle an[d} Phoenix]*
(Version I : http://tinyurl.com/jsxgzrf)
first published in 1601 as a supplement to a long
poem by Robert Chester, entitled Love's Martyr.
..............................................
Let the bird of lowdest lay,
On the sole Arabian tree,
Herauld sad and trumpet be:
To whose sound chaste wings obay.
But thou shriking harbinger,
Foule precurrer of the fiend,
Augour of the feuers end,
To this troupe come thou not neere.
From this Session interdict
Euery foule of tyrant wing,
Saue the Eagle feath'red King,
Keepe the obsequie so strict.
Let the Priest in Surples white,
That defunctiue Musicke can,
Be the death-deuining *SWAN*,
.
Lest the Requi[E]m lacke hi[S] right.
And [T]hou trebl[E] dated Cro[W],
That thy s[A]ble gende[R] mak'st,
With \T\he breath thou giu'st and tak'st,
Mongst our mourners shalt thou go.
......................................
. <= 9 =>
.
. L e s t t h e R e
. q u i {E} m l a c k
. e h i [S] r i g h t
. A n d [T] h o u t r
. e b l [E] d a t e d
. C r o [W] T h a t t
. h y s [A] b l e g e
. n d e [R] m a k's t,
. W i t h\T\ h e b r
. e a t h t h o u g
. i u's t a n d t a
. k's t,
.
[{E.}STEWAR\T\] 9
----------------------------------------------------
http://en.wikipedia.org/wiki/The_Phoenix_and_the_Turtle
<<[The Phoenix and the Turtle] was first published in 1601 as a supplement to a long poem by Robert Chester, entitled Love's Martyr. The full title of Chester's book explains the content:
http://tinyurl.com/gpqcxgk
Love's Mar(T)yr: or Rosalins Complaint. Allegorically [S]hadowing *THE TRUTH* of Loue, in the constan[T] *FATE* of [The Phoenix and the Turtle]. A Poeme ent[E]rlaced with much varietie and raritie; no[W] first translated out of the venerable It[A]lian Torquato Caeliano, by Robert Cheste[R]. With the true legend of famous King Arthur \T\he last of the nine Worthies, being the first Essay of a new Brytish Poet: collected out of diuerse Authenticall Records. To these are added some new compositions of seuerall moderne Writers whose names are subscribed to their seuerall workes, vpon the first subiect viz. [The Phoenix and Turtle].
......................................................
____ <= 35 =>
.
. LovesMar (T) yrorRosalinsComplaintAlleg
. orically [S] hadowingTHETRUTHofLoueinth
. econstan [T] FATEofthePhoenixandTurtleA
. Poemeent [E] rlacedwithmuchvarietieandr
. aritieno [W] firsttranslatedoutoftheven
. erableIt [A] lianTorquatoCaelianobyRobe
. rtCheste [R] WiththetruelegendoffamousK
. ingArthu r\T\ helastofthenineWorth
[(T)STEWAR\T\] 35 : Prob. ~ 1 in 3240
...................................................
Chester prefaced his poem with a short dedication addressed to the Phoenix and Turtledove. The Phoenix is envisaged as female and the dove as male:
Chester's main poem is a long allegory in which the relationship between the birds is explored, and its symbolism articulated. It incorporates the story of King Arthur, and a history of ancient Britain, emphasizing Welsh etymologies for British towns. It culminates with the joint immolation of the Phoenix and Turtledove, giving birth to a new and more beautiful bird from the ashes.
It is followed by a brief collection of "Diverse Poeticall Essaies"
by the "best and chiefest of our moderne writers, with their names
sub-scribed to their particular workes". These include, in addition
to Shakespeare, *BEN JONSON*, George Chapman, John Marston and the
anonymous "Vatum Chorus" and "Ignoto". All use the same imagery:
.......................
Hereafter follow Diverse Poeticall Essaies on the Former subiect; viz.:
*the T{urtle an[d} Phoenix]*. Done by the best and chiefest of our
moderne writers, with their names subscribed to their particular workes:
neuer before extant. And (now first) consecrated by them all generally
to the loue and merite of the *TRUE-noble* Knight, Sir lohn Salisburie.
..................................................
. *the T{urtle an[d} Phoenix]*
. {e.rutland}[oxenpho(r)d]
-----------------------------------------------------------
. *the T{urtle an[d} Phoenix]* (Version II ?)
.
. Let the bird of loudest lay,
. On the sole Arabian tree,
. Herald sad and trumpet be,
. To whose sound cha(S)te wings obey.
. But tho(U) shrieking harbinge(R),
. Foul precurrer of th(E) fiend,
. Augur of the fe(V)er's end,
. To this troup(E) come thou not near!
......................................
___ <= 18 =>
.
. L e t t h e b i r d o f l o u d e s
. t l a y,O n t h e s o l e A r a b i
. a n t r e e, H e r a l d s a d a n d
. t r u m p e t b e,T o w h o s e s o
. u n d c h a (S) t e w i n g s o b e y.
. B u t t h o (U) s h r i e k i n g h a
. r b i n g e (R),F o u l p r e c u r r
. e r o f t h (E) f i e n d,A u g u r o
. f t h e f e (V) e r's e n d,T o t h i
. s t r o u p (E) c o m e t h o u n o t
. n e a r!
{E.VERUS} 18 : (Oxford's Latin name)
. Prob. at start ~ 1 in 6,860
......................................
. Let the priest in surplice white,
. That defunctive music can,
. Be the death-divining *SWAN*,
. Lest the requ{I}/E/m lack hi{S} right.
. And {T}hou trebl{E}-dated cro{W},
. That thy s{A}ble gende{R} makest
. Wi{T}h (T)he breath (T)hou gives(T) and takes(T),
. 'Mongst our mourners shalt thou go.
......................................
___ <= 9 =>
. L e s t t h e r e
. q u {I}/E/ m l a c k
. h i {S} r i g h t. A
. n d {T} h o u t r e
. b l {E}-d a t e d c
. r o {W},T h a t t h
. y s {A} b l e g e n
. d e {R} m a k e s t
. W i {T} h (T) h e b r
. e a t h (T) h o u g
. i v e s (T) a n d t
. a k e s (T),
{I.STEWART} 9 Prob. ~ 1 in 137,000
......................................
. Whereupon it made this threne
. To the phoenix and the dove,
. Co-su(P)remes (A)nd sta(R)s of lo(V)e,
. As ch(O)rus to their tragic scene.
......................................
___ <= 6 =>
.
. C o- s u (P) r
. e m e s (A) n
. d s t a (R) s
. o f l o (V) e,
. A s c h (O) r
. u s t o t h
. e i r t r a
. g i c s c e
. n e.
.
(PARVO) 6 : (Rutland/Manners' motto)
. Prob. at end ~ 1 in 15,000
-------------------------------------------------------------
Sketch Book of Geoffrey Crayon, Gent. by Washington Irving.
.
THE BOAR'S HEAD TAVERN, EASTCHEAP.
A SHAKESPEARIAN RESEARCH.
.
There was something truly cheering in this triumph of warmth and
verdure over the frosty [T]hraldom of winter; it was, as the squire
observed, an emblem of Ch[R]istmas hospitality breaking through the
chills of ceremony [A]nd selfishness and thawing ev{E}ry heart into
a flow. He point(E)d [W]ith pleasure to the indication{S} of good cheer
reeking from th{E} chi(M)ney{S} of the co{M}fortabl{E} far{M}-hous(E)s
and low thatched cot[T]ages. "I love," said he, "to see this day w{E}ll
kept by rich and poor; it i[S] a great thing to have one day in the
year, at least, when you are sure of being welcome wherever you
go, and of having, as it were, the world all thrown open to you;
and I am almost disposed to join with Poor Robin in his
malediction on every churlish enemy to this honest festival:
.
. "`Those who at Christmas do repine,
. And would fain hence dispatch him,
. May they with old Duke Humphry dine,
. Or else may Squire Ketch catch'em.'"
.........................................................................
. <= 52 =>
.
. The r ewassomethingtru l y c hee r ing i nthistr i umphofw a r m t h a
. ndv e rdureoverthefros t y [T] hra l dom o fwinter i twasast h e s q u i
. reo b servedanemblemof C h [R] ist m ash o spitali t ybreaki n g t h r o
. ugh t hechillsofceremo n y [A] nds e lfi s hnessan d thawing e v{E}r y h
. ear t intoaflowHepoint(E)d [W] ith p lea s uretoth e indicat i o n{S}o f
. goo d cheerreekingfrom t h {E} chi(M)ney{S}oftheco{M}fortabl{E}f a r{M}h
. ous(E)sandlowthatchedc o t [T] age s Ilo v esaidhe t oseethi s d a y w{E}
. llk e ptbyrichandpoori t i [S] agr e att h ingtoha v eoneday i n t h e y
. ear a tleastwhenyouare s u r eof b ein g welcome w herever y o u g o
.
[STEWART] -52 : Prob. in phrase ~ 1 in 3,000
{ESME} 8,53
(ESME) 29 : Prob. 3{ESME}s in phrase ~ 1 in 30
----------------------------------------------------------------------
. Venus and Adonis (1593)
.
For there his smell with others being mingled,
The hot sent-snuffing hounds are driuen to doubt,
Ceasing their clamorous crie, till they haue singled
With much ado the cold fault cleanlie out,
Then do they spend their mouth's, *ECCHO replies* ,
As if an o{T}he{R} ch{A}se {W}er{E} in {T}he {S}ki{E}s.
...............................................
. <= 3 =>
.
. A s i
. f a n
. o {T} h
. e {R} c
. (H) {A} s
. (E) {W} e
. (r) {E} i
. (n) {T} h
. (E) {S} k
. (I) {E} s.
.............................
{E.STEWART} -3: Prob. in any V&A line ~ 1 in 2500
(HErnEI)
................................................
By THIS POORE WAT farre off vpon a hill,
Stands on his hinder-legs with listning eare,
To hearken if his foes pursue him still,
Anon their loud alarums (H)e doth h(E)are,
And (N)ow his g(R)iefe ma(Y) be compared well,
To one sore sicke, that heares the passing bell.
...............................................
. <= 3 =>
.
. (H) e d o t h h
. (E) a r e,A n d
. (N) o w h i s g
. (R) i e f e m a
. (Y) b e c o m p
. a r e d w e l l,
.
(HENRY) 7
................................................
................................................
Here kennel’d in a brake she fin[D]s a hound,
And asks the weary c[A]itiff for his master,
And the[R]e another licking of his wou[N]d,
’Gainst venom’d sores the on[LY] sovereign plaster;
And her[E] she meets another sadly scowling,
To whom she speaks, and he replies with howling.
................................................
. <= 24 =>
.
. H e r e k e n n e l’d i n a b r a k e s h e f i
. n [D]s a h o u n d,A n d a s k s t h e w e a r y
. c [A]i t i f f f o r h i s m a s t e r,A n d t h
. e [R]e a n o t h e r l i c k i n g o f h i s w o
. u [N]d,G a i n s t v e n o m’d s o r e s t h e o
. n [L Y]s o v e r e i g n p l a s t e r;A n d h e
. r [E]s h e m e e t s a n o t h e r s a d l y s c
. o w l i n g,
..............
[DARNLE] 24
----------------------------------------------------------
(HENRY){STEWART} = Albany, King Hamlet, Duncan/Banquo
https://en.wikipedia.org/wiki/Henry_Stuart,_Lord_Darnley
<<(HENRY){STEWART}, Duke of Albany (7 December 1545 – 10 February 1567), was king consort of Scotland from 1565 until his murder at Kirk o' Field in 1567. Many contemporary narratives describing his life and death refer to him as Lord [DARNLE]y, his title as heir apparent to the Earldom of Lennox, and it is by this appellation that he is now generally known. He was the second but eldest surviving son of Matthew Stewart, 4th Earl of Lennox. He was a first cousin and the 2nd husband of Mary, Queen of Scots, and was the father of her son James I.>>
------------------------------------------------
<<Aubrey says of Lady [MARY S]idney: "She was VERy salacious,
and she had a Contrivance that in the Spring of the yeare,
when the *STALLIONS* were to leape the Mares, they were to
be brought before such a part of the house, where she had a
vidette (a hole *to peepe* out at) to looke on them and please
herselfe with their Sport; and then she would act the like
sport herselfe with her *STALLIONS* . One of her great
Gallants was *CROOKE-BACK't Cecill* , Earl of Salisbury.">>
.......................................................
The Tragedy of King Richard the third. Containing, His
{T}reach{E}rous P{L}ots ag{A}inst his brother Clarence :
*THE PITTIEFULL* murther of his innocent nephewes :
his tyrannicall vsurpation :
with the whole course of his de{TEST}ed life,
and most deserued death. As it hath beene
lately Acted b[Y] the Right honourabl[E]
the Lord Chamberlai[N]e his seruants.
At Lon[D]on, Printed by Valent[I]ne Sims,
for Andrew (WI[S]E) , dwelling in Paules
{C}hurch-yard, at the signe of the Angell. 1597.
...........................................
____ <= 18 =>
.
. A s i t h a t h b e e n e l a t e l
. y A c t e d b [Y] t h e R i g h t h o
. n o u r a b L [E] T H E L o r d C h a
. m b e r l a i [N] e h i s s e r u a n
. t s A t L o n [D] o n P r i n t e d b
. y V a l e n t [I] n e S i m s f o r A
. n d r e w(W I [S] E)d w e l l i n g i
. n P a u l e s {C} h u r c h-y a r d,
.
[{C}SIDNEY] -18 Q1(1597)
[{C}ountesse of pembrooke: mary SIDNEY]
Prob. of [SIDNEY] ~ 1 in 2215
----------------------------------------------------
Art Neuendorffer
https://hankwhittemore.wordpress.com/2011/05/14/1230/
Titian’s Painting of “Venus and Adonis”
by Hank Whittemore
.................................
https://en.wikipedia.org/wiki/Venus_and_Adonis_(Titian,_Rome)
VENUS AND ADONIS By William Shakespeare
He sees her coming and begins to glow…
And with his bonnet hides his angry brow…
For all askance he holds her in his eye …
Now was she just before him as he sat,
And like a lowly lover down she kneels…
O what a war of looks was then between them!
Her eyes petitioners to his eyes suing,
His eyes saw her eyes as they had not seen them;
Her eyes wooed still, his eyes disdained the wooing;
And all this dumb play had his acts made plain…
Some time her arms infold him like a band.
She would, he will not in her arms be bound…
For shame, he cries, let go and let me go.
.................................
<<The author of Venus and Adonis by “William Shakespeare” (1593) describes a painting by Tiziano Vecellio, or Titian, in which Adonis wears a bonnet or cap. This was the only Titian painting with that detail and, during Shakespeare’s time, it could have been seen only at Titian’s home in Venice. William of Stratford had never left England, but Edward de Vere the 17th Earl of Oxford had traveled throughout Italy during 1575-1576 (at age twenty-five), making his home base in Venice, where Titian (1488?-1576) worked until his death on August 27, 1576.
I continue to be struck by the simplicity and clarity of this piece of factual evidence presented in an article by the brilliant scholar Dr. Noemi Magri in Great Oxford: Essays on the Life and Works of Edward de Vere (2004), a collection of papers from the De Vere Society in England. In her essay, entitled The Influence of Italian Renaissance Art on Shakespeare’s Works; Titian’s Barberini Painting: the Pictorial Source of “Venus and Adonis,” Dr. Magri writes that Titian made many replicas of his work and that Shakespeare based his poem on the only autographed replica in which Adonis wears a bonnet or hat:
“Titian’s painting was his source of inspiration, the thing that stimulated him to write a poem about this subject though he also had a thorough knowledge of Ovid … Shakespeare describes the painting in detail: he portrays the painting in words and the description is too faithful to ascribe it to mere coincidence…
“It is evident that Shakespeare’s Adonis is wearing a hat, a bonnet. The mention of the bonnet is not coincidental. This is the detail here taken as evidence of the pictorial source.”
..................................................
With one fair hand she heaveth up his *HAT* – line 351
*BONNET* nor veil henceforth no creature wear – line 1081
And therefore would he put his *BONNET* on – line 1087
..................................................
Princes, cardinals, ambassadors and the like, as well as top literary figures, “never failed to pay Titian a visit” when they came to Venice, Dr. Magri notes. His home was a kind of cultural center and such notables felt they could not leave without going to see the man who was the greatest painter of sixteenth-century Venice and, too, the first to have a mainly international clientele. To be received into his house was an honor that brought them high prestige.
“Considering de Vere’s desire for learning and his love for Italian culture, he must have felt the wish to meet him and admire his collection,” writes Dr. Magri. (She provides evidence to confirm that the autographed copy with Adonis wearing a hat, now held in the National Gallery of Palazzo Barberini in Rome, was in fact at Titian’s house during the same time Oxford was in Venice.)
In the lines above, Shakespeare writes that Adonis looks at Venus all askance, which, Dr. Magri observes, “is a faithful and precise description of Adonis’ posture in the painting.” Moreover their glances are “the central motif of the painting” and Shakespeare “has retained the dramatic pictorial element” in his description of their eyes such as “Her eyes petitioners to his eyes suing,” etc.
Also Shakespeare’s reference to all this dumb play is an accurate description: the play they have performed “is a dumb one since their words are not to be heard.” The two protagonists, Venus and Adonis, “are not acting on a stage: they are painted on the canvas.”
Dr. Magri even notes how Venus, reacting angrily to Adonis’s resistance, bursts out a clear reference to the painted image of him:
Fie, lifeless picture, cold and senseless stone
Well-painted idol...>>
------------------------------------
http://tinyurl.com/q9tkyys
.
Shake-speare's "Venere e Ad[O]n[E]" is about:
..............................
"Anne de Vere / [E.O.]"
------------------------------------
http://tinyurl.com/okjju6s
(L)U(C)R{E|C)E is about:
.......................
. (C)
. {U E R E}
. (C)
. (L)
--------------------------------------------------------------
DECEMBER 19, 1571: Edward de {UERE} married Anne, the love-sick
daughter of William (C){E}(C)i(L), Lord (*TREASURER*: 1572-1598)
........................................................
DECEMBER 19: The Roman festival of *OPALIA*
Anne Cecil age 15 = *OPHELIA/OPALIA*
<<The major temple was of OPS Capitolina, on the Capitoline Hill,
where Caesar had located the *TREASURY*.>>
<<OPS (Opis) The Roman goddess of the earth as a source of fertility,
and a goddess of abundance and wealth in general (her name means
"PLENTY"). As goddess of harvest she is closely associated
with the god Consus. She is the sister and wife of Saturn.>>
----------------------------------------------------------
The Faerie Queene Dedicatory Sonnets
http://www.bartleby.com/153/31.html
.
To the right honourable the Lo.
Burleigh, Lo. high Threasur{E}r of England.
.
TO you, right noble Lord, whose {C}arefull brest
To menage of most graue aff{A}ires is bent,
And on whose mightie shoulde{R}s most doth rest
The burdein of this kingd{O}mes gouernement,
As the wide compasse of t{H}e firmament,
On Atlas mighty shoulders is upstayed;
..........................................
To the right honourable the Lo.
Burleigh, Lo. high <= 35 =>
Threasur {E|R]o fEnglandTOyourightnobleL
ordwhose {C|A]r efullbrestTomenageofmost
graueaff {A|I]r esisbentAndonwhosemighti
eshoulde {R|S]m ostdothrestTheburdeinoft
hiskingd {O|m e]sgouernementAsthewidecom
passeoft {H|E]f irmamentOnAtlasmightysho
uldersis u p s tayed;
{HORACE} -35
..........................................
http://en.wikipedia.org/wiki/Horace
<<{HORACE} tells us far more about himself, his character, his development, and his way of life than any other great poet in antiquity. Ben Jonson put {HORACE} on the stage in his 1601 satire on John Marston: Poetaster. {HORACE}'s part evinces the independent spirit, moral earnestness and critical insight.>>
............................................
Unfitly I these *YDLE* rimes present,
The *LABOUR* of lost time, and *WIT* vnstayd:
.
Yet if their *DEEPER SENCE* be inly wayd,
And the *DIM VELE, with which FROM COMUNE VEW*
The[I]r *fairer parts are hid, asi[D]e be {L}ayd* .
Perhaps not vain[E] the might appeare to {Y}ou.
S[U]ch as they be, vou{C}hsafe th[E]m to receav{E},
And wipe thei[R] fault{S} out of your *censur[E] G{R}AVE* .
............................................
. <= 20 =>
.
. i f t h e i r*D E E P E R S E N C E*b e
. i n l y w a y d,A n d t h e*D I M V E L
. E,w i t h w h i c h F R O M C O M U N E
. V E W T h e(I)r f a i r e r p a r t s a
. r e h i d a s i[D]e b e{L}a y d P e r h
. a p s n o t v a i n[E]t h e m i g h t a
. p p e a r e t o{Y}o u S[U]c h a s t h e
. y b e v o u{C}h s a f e t h[E]m t o r e
. c e a v{E}A n d w i p e t h e i[R]f a u
. l t{S}o u t o f y o u r c e n s u r[E]G
. {R}A V E
.........................................
{LEYCES,R.} 18
[DEUERE] 22 : Prob. at end ~ 1 in 375
{LEYCES} Prob. at end ~ 1 in 3825
-----------------------------------------------------------------------
http://tinyurl.com/j9kpepb
The Cambridge Edition of the Works of Ben Jonson
by David Bevington
<<Of course, Poetaster has much else to recommend it to Jonson readers, but the play’s reputation is nevertheless inevitably tied to its role in the War of the Theatres. As such, it was destined to receive little subsequent attention on stage. Whereas Every Man In His Humour, Every Man Out of His Humour, and some of Jonson’s other early plays lived on theatrically into succeeding centuries, Poetaster disappeared from the record of performances until 26-7 April of 1916, when William Poel, visionary antiquarian of the English stage, mounted three performances in two venues. The first performance took place on 26 April in the Apothecaries’ Hall, located in Water Lane, Blackfriars, quite close to the original location of the Blackfriars playhouse. Originally a priory for the Dominicans (or Black Friars), the hall served for a time as a residence for Henry Brooke, Lord Cobham until it passed to the crown on his conviction in 1603 for his complicity in a plot to place Arabella Stuart on the English throne. The hall then seems to have been Esmé Stuart's town house, where Jonson himself had lodged, more or less next door to the Blackfriars playhouse. Lady Frances Howard stayed there under house arrest during her trial in 1616 for the murder of Sir Thomas Overbury. After having been destroyed in the Great London Fire of 1666, the hall was rebuilt in 1672 and remains standing today.
Two notices appeared in the London Times for 31 March 1916. The first, entitled ‘Shakespeare as Character in a Play’, described the production as Poel’s contribution to a celebration of the tercentenary of Shakespeare’s death in 1616, noting that in the previous ten or twelve years, the play had attracted a good deal of attention from Shakespeare scholars, including a 1905 edition from Yale by Herbert Mallory. What particularly caught the reviewer’s eye was the putative identification of VIRGIL with Shakespeare, along with other topical associations, especially Horace with Jonson himself, Crispinus with Marston, Demetrius with Dekker, and Histrio and his players with the Lord Chamberlain’s acting company. The reviewer noted with scholarly satisfaction that ‘Mr Poel’s performance will reproduce the conditions that prevailed when the play was first produced by the Children of the Chapel Royal in 1601’, thus underscoring the appropriateness of Hamlet’s alluding to ‘an eyrie of children, little ayases’, etc.
The second notice, in the same issue of The Times, entitled ‘An Elizabethan Revue of Ben Jonson’s Poetaster’, noted that the presentation before the Shakespeare League took place on ‘almost the same spot’ as that of the 1601 first performance, in ‘the fine Jacobean Hall of the Apothecaries’ Society in Water-lane, Blackfriars, which stands close to Playhouse-yard at the back of The Times Office, where once was the famous Blackfriars playhouse’. As in the other review notice, this one seems most fascinated by the question, ‘Where does Shakespeare come in?’ Virgil, as the ‘almost more than human poet whom the Emperor Augustus sat at his right hand’, seemed to the reviewer the most appropriate choice. In the performance itself, we are told, Virgil was ‘“made up” as Shakespeare, so that there could be no mistake’. Horace was no less visually presented as Jonson, together with the ‘scoundrelly Poetasters’, Crispinus and Demetrius, as Marston and Dekker.>>
-----------------------------------------------------------------------
The *Swan of Mantua* : VIRGIL.
Virgil's tomb, once treated like a shrine, has disappeared.
His epitaph was supposedly:
Mantua me genuit, Calabri rapuere, tenet nunc Parthenope.
Mantua GAVE me BIRTH, the Calabrians took me, now Naples holds me;
-----------------------------------------------------------------------
IVDICIO [P]YLIVM, GENIO [S]OCRATEM, ARTE [M]ARONEM,
TERRA TEGIT, POPVLVS MAERET, OLYMPVS HABET.
("In judgement a *Nestor*, in wit a *Socrates*, in art a *Virgil*
the earth buries him, the people mourn him, Olympus possesses him")
---------------------------------------------------
Sweet *SWAN* of A\V\on! what a sight it w\E\re
To see thee in ou\R\ waters yet appear\E\,
..............................................
_______ <= 15 =>
.
. S w e e t s w a n o f A \V\ o n!
. w h a t a s i g h t i t w \E\ r
. e T o s e e t h e e i n o u \R\
. w a t e r s y e t a p p e a r \E\
.
\VERE\ 16 : Prob. (in couplet) ~ 1 in 47
..................................................
And make those flights upon t{He} bankes of Tha[M]es,
That so did t[A]ke Eliza, and ou[R] James !
B{U}t stay, [I] se{E} thee in th{E} [He]misphe{R}e
Advanc'd, and made a Constellation t{He}re !
................................................
_______ <= 13 =>
.
. A n d m a k e t h o s e f
. l i g h t s u p o n t {H e}
. b a n k e s o f T h a [M]e
. s T h a t s o d i d t [A]k
. e E l i z a a n d o u [R]J
. a m e s B{U}t s t a y [I|S)
. e{E}t h e e i n t h{E}[H e]
. m i s p h e{R}e A d v a n
. c'd,a n d m a d e a C o n
. s t e l l a t i o n t {H e}r e !
....................................................
[MARI.H(e.)] 13 : Prob. at end (skip<14) ~ 1 in 2525
.......................................................
THE LA. [MARI]e [H(e.)]r(be)rt COUNTESSE OF PEMBROOKE.
.
. http://tinyurl.com/zf6kjzl
.
The swans on the collar look suspiciously prominent.
..................................................
<<Fulke Greville lived in Warwick Castle on
the River Avon and his family's crest was a *SWAN*.
He frequented Mistress Quyney's Stratford tavern
(and the Bear and the *SWAN*).>>
------------------------------------------------------
[M]r. William S(H)AK<ES>P(E|A|R}ES
Comedi(E)s, H{I}st(O|R|I|E}s & T{R}ag{E}d(I|E}s,
<P|U}b(L|I|S)h{E}d accor(D)ing to t[He] Tr{U}e Orig(I)nall Co<PIES>
...............................................
_________ <= 17 =>
. [M]R.W i l l i a m S (H) A K <E S> P(E)
. [A|R}E S C o m e d i (E) s,H <I> s t(O)
. [R|I|E}s&T{R}a g{E}d (I){E}s <P>{U}b(L)
. [I|S)h{E}d a c c o r (D) i n g t o t
. [H e}T r{U}e O r i g (I) n a l l C o
. <P I E S>.
..........................................
[MARI.H(e.)] 17 : Prob. ~ 1 in 4174
-------------------------------------------------------
_________ <= 17 =>
. [M]R (W) H A L L {H} A P P I N E S S E
. [A]N (D) T H A T {E} T {E}R N I T I E P
. [R]O M I S E D {B}(Y){O}V R E V E R L
. [I]V I N G P O {E}(T){W}I S H E T H T
. [H e] W E L L W I (S){H}I N G A D V{E}
. N T V R E R I N S E T T I N G F{O}
. R T H T T
..........................................
[MARI.H(e.)] 17 : Prob. ~ 1 in 10,000
--------------------------------------------------
In his Frontline essay, William Murphy
mentions *THOMAS LODGE* once and only once:
......................................................
Thirty-Six Plays in Search of an Author
by William M. Murphy, Union College Symposium 1964
.............................................................
There are those, like Delia Bacon, who are afflicted with what
has been called the "Corporation Syndrome," holding that such
distinguished literature must be the work of a commi[T]tee.
Its members wou[L]d include, in additi[O]n to BACON and Oxfor[D],
Robert GREENE, Geor[G]e PEELE, Samuel DANI[E]L, Thomas NASHE,
*THOMAS LODGE*, Michael Drayton, and Thomas Dekker.
....................................................
_________ <= 17 =>
.
. m u s t b e t h e w o r k o f a c
. o m m i [T] t e e.I t s m e m b e r
. s w o u [L] d i n c l u d e,i n a d
. d i t i [O] n t o B a c o n a n d O
. x f o r [D] R o b e r t G r e e n e,
. G e o r [G] e P e e l e,S a m u e l
. D a n i [E] l,T h o m a s N a s h e,
.*T H O M A S L O D G E*
[T.LODGE] 17 : Prob. stuck on *THOMAS LODGE* ~ 1 in 100,000
-------------------------------------------------
Ben Jonson (1623) _To the Memory of Shakespeare_
.............................................
My Shakespeare, rise; I will no{T LODGE} thee by
Chaucer, or Spenser, or bid Beaumont lye
A little further, to make thee a roome :
Thou art a Moniment, without a TOMBe,
......................................................
Shine *FORTH*, thou Starr{E O}f Poets, and wi[T]h rage,
Or inf[L]uence, chide, [O]r cheere the [D]rooping Sta[G]e;
Which, sinc[E] thy flight fro' hence, hath mourn'd like night,
And despaires day, but for thy Volumes light.
.............................................
. <= 11 =>
.
. S h i n e*F O R T H* t
. h o u S t a r r{E O} f
. P o e t s,a n d w i [T]
. h r a g e.O r i n f [L]
. u e n c e,c h i d e,[O]
. r c h e e r e t h e [D]
. r o o p i n g S t a [G]
. e;W h i c h,s i n c [E]
. t h y f l i g h t
.
[T LODGE] 11 : Prob. at end of poem ~ 1 in 18,000
..................................................
(Shortest positive ELS [T LODGE] skip in KJV = 25)
-------------------------------------------------------------
david kathman wrote:
<<In 1596, *THOMAS LODGE* in his *WITS MISERy* mentioned
the "ghost which cried so MISERably at the Theatre,
*like an OISTER-WIFE*, 'HAMlet, REVEnge'.">>
---------------------------------------------------------------
http://en.wikipedia.org/wiki/Thomas_Lodge
<<THOMAS LODGE (1558 - September 1625) was an English dramatist.
He was born at West HAM, the second son of Sir Thomas Lodge,
who was Lord Mayor of the City of London in 1562-1563.
Young Thomas served as *PAGE* to the Stanleys, Earls of Derby,
until approximately 1571, when he enrolled in the
Merchant-Taylors' School. From there he went on to
Trinity College, Oxford, where he took his degree in 1577.>>
------------------------------------------------------
Source: http://tinyurl.com/lju45g7
https://archive.org/stream/poeticalworksofw00bass#page/114/mode/2up
.
. ELEGY ON SHAKESPEARE,
. From Lansdowne MS.(777) TEMP. James I.
......................................................
. On Mr. Wm. Shakespeare
. HE DYED IN APRILL 1616
.
. Renowned Spencer lye a thought more nye
. To learned Chaucer, and rare Beaumond lye
. A little neerer Spenser, to make roome
. For *SHAK{E}SPEARE* in your threefold, fowerfol{D} Tombe.
.(To LODGE) all fowre in one bed m{A}ke a shift
. Untill Doomesdaye, for ha{R}dly will a sift
. Betwixt ys day and yt {B}y *FATE* be slayne,
. For whom your Curta{I}nes may be drawn againe.
. If yoUr prec{E}dency in death doth barre
. A *FOURTH* place in your sacred sepulcher,
. Under this carved marble of thine owne,
. Sleepe, rare Tragœdian, Shakespeare, sleep alone;
. Thy unmolested peace unshared Cave,
. Possesse as Lord, not Tenant, of thy Grave,
. That unto us & others it may be
. Honor hereafter to be layde by thee.
- Wm. Basse
.....................................
_______ <= 30 =>
.
. For*SHAK{E}SPEARE* inyourthreefoldf
. owerfol {D} TOMBE ToLODGEallfowrein
. onebedm {A} keash iftUntillDoomesda
. yeforha {R} dlywi llasiftBetwixtysd
. ayandyt {B} yFATE beslayneForwhomyo
. urCurta {I} nesma ybedrawnagaineIfy
. oUrprec {E} dency indeathdothbarreA
. FOURTHp l acEin yoursacredsepulcher
.
{E.DARBIE} 30 : Prob. ~ 1 in 10,300
..........................................................
http://quod.lib.umich.edu/e/eebo/A12017.0001.001?view=toc
<<The most lamentable Romaine tragedie of Titus Andronicus
As it was plaide by the right honourable the {E}arle of {DARBIE},
*Earl of PEMBROOKE* , and Earl of Sussex their seruants.
London: Printed by Iohn Danter, and are to be sold by
Edward White & Thomas Millington, at the little North
doore of Paules at the signe of the Gunne, 1594.>>
.....................................................
(Shortest positive ELS {DARBIE} skip in KJV = 33)
------------------------------------------------------
http://pages.uoregon.edu/rbear/muses.html
. THE TEARES OF THE MUSES (1591) BY ED. Sp.
. (dedicated to *[ALICE S]PENCER*, Countess of Derby)
.......................................................
All places th{EY} with follie have possest,
And with vaine toyes the vulgar[E] entertaine;
But me have banished, with all the rest
That whi[L]ome wont to wait upon my traine,
Fine Counterfesaunce and u[N]hurtfull Sport,
Delight and Laughter deckt in seemly sort.
[A]ll these, and all that els the comick stage
With seasoned wi[T] and goodly pleasance graced,
By which mans life in his like[S]t image
Was limned *FORTH*, are wholly now defaced;
And those s[W]eete wits which wont the like to frame
Are now despizd, and made a laughing game.
And he, the man whom Nature selfe had made
To mock her selfe, and *TRUTH* to imitate,
With kindly counter under *MIMICK SHADE* ,
Our p{LE(a)SANT WILLY}, ah! *IS DEAD* of late:
With whom all joy and jolly meriment
Is also deaded, and in dolour drent.
...................................................
. p{LE(a)SANT WILLY}
. {WILL STANLEY}
.......................................................
______ <= 49 =>
.
. Allplacesth {E/Y} withfolliehavepossestAndwithvainetoy
. esthevulgar [E] entertaineButmehavebanishedwithallthe
. restThatwhi [L] omewonttowaituponmytraineFineCounterf
. esaunceandu [N] hurtfullSportDelightandLaughterdeckti
. nseemlysort [A] lltheseandallthatelsthecomickstageWit
. hseasonedwi [T] andgoodlypleasancegracedBywhichmansli
. feinhislike [S] timageWaslimnedFORTHarewhollynowdefac
. edAndthoses [W] eetewitswhichwonttheliketoframeArenow
. despizdandm a dealaughinggame
.
[W.STANLE/Y}] -49 :
Prob. near to {Our p-LE(a)SANT WILLY} ~ 1 in 32,000
...................................................
In stead thereof scoffing Scurrilitie,
And scornfull Follie with Contempt is crept,
Rolling in rymes of shameles ribaudrie
Without regard, or due decorum kept;
Each idle wit at will presumes to make,
And doth the learneds taske upon him take.
But that same gentle spirit, from whose pen
Large streames of honnie and sweete nectar flowe,
Scorning the boldnes of such base-borne men,
Which dare their follies *FORTH* so rashlie throwe,
Doth rather choose to sit in idle cell,
Than so himselfe to mockerie to sell.
---------------------------------------------------
http://www.bartleby.com/331/186.html
.
. Rosalynde (1590) by *THOMAS LODGE*
_Phoebe's Sonnet, a Reply to Montanus' Passion_
When Love was first begot,
And by the *moVER's WILL*
Did fall to human lot
His solace to fulfil,
Devoid of all deceit,
A chaste and holy fire
Did quick[E]n man's conce[I]t,
And women's [B]reast inspi[R]e.
The gods th[A]t saw the goo[D]
That mortal{S} did approve,
{W}ith kind and holy mood
Began to talk of Love.
...................................
. <= 11 =>
.
. D i d q u i c k [E] n m
. a n's c o n c e [I] t,A
. n d w o m e n's [B] r e
. a s t i n s p i [R] e.T
. h e g o d s t h [A] t s
. a w t h e g o o [D] T h
. a t m o r t a l {S} d i
. d a p p r o v e,{W} i t
. h k i n d a n d h o l
. y m o o d
.
[{W.S.} DARBIE] -11 : Prob. in song ~ 1 in 3,650,000
.......................................................
But during this accord,
A wonder *STRANGE* to hear,
Whilst Love in deed and word
Most faithful did appear,
False-semblance came in place,
By Jealousy attended,
And with a double face
Both love and fancy blended;
Which made the gods forsake,
And men from fancy fly,
And maidens scorn a make,
Forsooth, and so *WILL I*.
..................................................
. Epilogue _ROSALYNDE OR, EUPHUES' GOLDEN LEGACY_
.
If you grace me with that favor, you encourage
me to be more forward; and as soon as I have
overlooked my labors, expect the Sailor's Calendar.
.
. *T. LODGE. FINIS*
-----------------------------------------------------------
Was *THOMAS LODGE* the *PAGE* that served W.S.'s WIT?
........................................................
Job 31:32 The *STRANGER* did no{T LODGE} in the street:
. but I opened my doores to the trauailer.
-----------------------------------------------------
Henry IV, Part 1 (Quarto 1, 1598) Act I, scene iii
.
EARL OF WORCESTER: Peace coosen, say no more.
. And now *I WILL UNCLASPE a SECRET BOOKE* ,
. And to your quicke conceiuing discontents
. Ile read[E] you matter deepe and daun[G]erous,
. As full of perill an[D] aduenterous spirit,
. As to [O]rewalke a Current roring [L]owd,
. On the vnstedfast foo[T]ing of a *SPEARE*.
....................................................
____ <= 22 =>
. *U N C L A S P E a S E C R E T B O O K E*, A n
. d t o y o u r q u i c k e c o n c e i u i n
. g d i s c o n t e n t s I l e r e a d[E] y o
. u m a t t e r d e e p e a n d d a u n[G] e r
. o u s,A s f u l l o f p e r i l l a n[D] a d
. u e n t e r o u s s p i r i t,A s t o[O] r e
. w a l k e a C u r r e n t r o r i n g[L] o w
. d,O n t h e v n s t e d f a s t f o o[T] i n
. g o f a*S P E A R E*.
[T LODGE] -22 (one of 6 *SPEARE*s) (only *SECRET BOOKE*)
----------------------------------------------------------
Sketch Book of Geoffrey Crayon, Gent. by Washington Irving.
http://www.bartleby.com/109/6.html
THE MUTABILITY OF LITERATURE.
A COLLOQUY IN WESTMINSTER ABBEY.
I had taken down a little thick quarto, curiously bound in
parchment, with brass *CLASPS*, and seated myself at the table
in a venerable elbow-chair. Instead of reading, howEVER, I was
beguiled by the solemn monastic air and lifeless quiet of the
place, into a train of musing. As I looked around upon the old
volumes in their mouldering covers, thus ranged on the shelves
and apparently nEVER disturbed in their repose, I could not but
consider the library a kind of literary catacomb, where authors,
like mummies, are piously entombed and left to blacken and
moulder in dusty oblivion.
While I sat half-murmuring, half-meditating, these unprofitable
speculations with my head resting on my hand, I was thrumming
with the other hand upon the quarto, until I accidentally
loosened the *CLASPS*; when, to my utter astonishment, the
little book gave two or three yawns, like one awaking from
a *DEEP* sleep, then a husky hem, and at length began to talk.
............................................................
“Ah,” said the little quarto, with a heavy sigh, “I see how it is;
these modern scribblers have superseded all the good old authors.
I suppose nothing is read now-a-days but Sir Philip Sydney’s Arcadia,
Sackville’s stately plays, and Mirror for Magistrates, or the fine-
spun euphuisms of the ‘unparalleled John Lyly.”’
“There you are again mistaken,” said I; “the writers whom you
suppose in vogue, because they happened to be so when you were last
in circulation, have long since had their day. Sir Philip Sydney’s
Arcadia, the immortality of which was so fondly predicted by his
admirers, and which, in truth, is full of noble thoughts, delicate
images, and graceful turns of language, is now scarcely ever
mentioned. Sackville has strutted into obscurity; and even Lyly,
though his writings were once the delight of a court, and apparently
perpetuated by a proverb, is now scarcely known even by name.
............................................................
"My very good sir," said the little quarto, yawning most drearily
in my face, "excuse my interrupting you, but I perceive you are
rather given to prose. I would ask the fate of an author who
was making some noise just as I left the world. His reputation,
however, was considered quite temporary. The learned shook their
heads at him, for he was a poor, half-educated varlet, that knew
little of Latin, and nothing of Greek, and had been obliged to
run the country for deer-stealing. I think his name was
Shakespeare. I presume he soon sunk into oblivion."
"On the contrary," said I, "it is owing to that *VERy man* that
the literature of his period has experienced a duration beyond the
ordinary term of English literature. There rise authors now and
then who seem proof against the mutability of language because
they have rooted themselves in the unchanging principles of
human nature. They are like gigantic trees that we sometimes
see on the banks of a stream, which by their vast and *DEEP* roots,
penetrating through the mere surface and laying hold on the VERy
foundations of the earth, preserve the soil around them from
being swept away by the EVER-flowing current, and hold up many
a neighboring plant, and perhaps WORTHless WEED, to perpetuity.
Such is the case with Shakespeare, whom we behold defying the
encroachments of time, retaining in modern use the language and
literature of his day, and giving duration to many an indifferent
author, merely from having flourished in his vicinity. But even
he, I grieve to say, is gradually assuming the tint of age,
and his whole form is overrun by a profusion of commentators,
who, like clambering vines and creepers, almost
*bury the NOBLE plant* that upholds them."
.........................................................
{W}hat (D)reary waste{S} of m(E)taphysics! H[E]re a(N)d there o(N)ly
[D]o we behold th(E) he[A]ven-illumine(D) ba[R]ds, elevated like
[B]eacons on their w[I]dely-separated h[E]ights, to transmit
the pure light of poetical intelligence from age to age."
I was just about to launch *FORTH* into eulogiums upon the poets
of the day, when the sudden opening of the door caused me to
turn my head. It was the VERgEr, who came to inform me that
it was time to close the library. I sought to have a parting
word with the quarto, but the worthy little tome was silent;
the *CLASPS* were closed: and it looked perfectly
unconscious of all that had passed.
.........................................................
. <= 15 =>
.
. {W} h a t(D)r e a r y w a s t e
. {S} o f m(E)t a p h y s i c s!H
. [E] r e a(N)d t h e r e o(N)l y
. [D] o w e b e h o l d t h(E)h e
. [A] v e n-i l l u m i n e(D)b a
. [R] d s,e l e v a t e d l i k e
. [B] e a c o n s o n t h e i r w
. [I] d e l y-s e p a r a t e d h
. [E] i g h t s,t o t r a n s m i
. t t h e p u r e l i g h t o f
. p (O)e t i c a l i n t e l l i
. g (E)n c e f r o m a g e t o a
. g e.
.
(NED) -15,15 : Prob. both in array ~ 1 in 150
[{W.S.} E.DARBIE] 15
.
Prob. of [{W.S.} E.DARBIE] in last 2 sentences ~ 1 in 57,000,000.
---------------------------------------------------------------
http://lgbt.wikia.com/wiki/Esm%C3%A9_Stewart,_1st_Duke_of_Lennox
<<{E}smé [STEWART](1542 – 26 May 1583), 1st Duke of Lennox,
was the son of John Stewart, 5th Lord of Aubigny. Sir James
Melville described him as "of nature, upright, just, and gentle".
At the age of 37 {E}smé was introduced to the 13-year-old James VI of Scotland
at the time when the latter made his formal entry into Edinburgh. The two
became extremely close and it was said by an English observer that "from the
time he was 14 years old and no more, that is, when the Lord Stuart came into
Scotland... even then he began... *to CLASP* some one in the embraces of his
great love, above all others" and that James became "in such love with him
as in the open sight of the people often he *WILL CLASP* him about the neck
with his arms and kiss him". This affair was to lead to Stewart's return
to France and early death in 1583.
The King first made Stewart a gentleman of the bedchamber, then went on to the Privy Council. He was created 1st Earl of Lennox, on 5 March 1580, and finally 1st Duke of Lennox on 5 August 1581. In Presbyterian Scotland the thought of a Catholic duke irked many and Lennox had to make a choice between his Catholic faith or his loyalty to James. At the end Lennox chose James and the king taught him the doctrines of Calvinism. The Scottish Kirk remained suspicious of Lennox after his public conversion and took alarm when he had James Douglas, 4th Earl of Morton tried and beheaded on charges of treason. The Scottish ministry was also warned that the duke sought to “draw the King to carnal lust.”
In response the Scottish nobles plotted to oust Lennox. They did so by luring James to Ruthven Castle as a guest but then kept him as prisoner for ten months. The Lord Enterprisers forced him to banish Lennox. The duke journeyed back to France and kept a secret correspondence with James. Lennox in these letters says he gave up his family "to dedicate myself entirely to you"; he prayed to die for James to prove "the faithfulness which is engraved within my heart, which will last forever." The former duke wrote "Whatever might happen to me, I shall always be your faithful servant... you are alone in this world whom my heart is resolved to serve. And would to God that my breast might be split open so that it might be seen what is engraven therein."
James was devastated by the loss of Lennox. With his return to France, Lennox had met a frosty reception as an apostate. The Scottish nobles had believed they that would be proven right in their convictions that Lennox's conversion was artificial when he returned to France. Instead the former duke remained Presbyterian and died shortly after, leaving James his embalmed heart. James had repeatedly vouched for Lennox's religious sincerity and memorialized him in a poem called "Ane Tragedie of the *PHOENIX*", which said he was like an exotic bird of unique beauty killed by envy.>>
------------------------------------------------------
The SUSAN Constant: May 26
...................................................
May 26, 604 1st Archbishop of Canterbury AUGUSTINE dies
May 26, 1583 {E}smé {STEWART} 1st Duke of Lennox dies
May 26, 1583 SUSANna Shakespeare Hall born
_____________ (after a 26 week gestation!)
May 26, 1587 SUSANna Vere Herbert born
May 26, 1599 (HENRY) PORTER disappears
May 26, 1609 Fighting FRANCIS Vere dies
May 26, 1703 Samuel Pepys ( *PEEPS* ) dies
-----------------------------------------------------------------
http://en.wikipedia.org/wiki/Esm%C3%A9_Stewart,_3rd_Duke_of_Lennox
<<{E}smé {STEWART}, 3rd DUKE of Lennox (1579 - 30 July 1624)
was the son of {E}smé {STEWART}, 1st DUKE of Lennox.
He was a patron of the playwright *BEN JONSON*,
who lived in his household for five years.
......................................................
He died & was interred, on *August 6, 1624* in Westminster Abbey.>>
.............................................................
<<On August 6, 1623, Anne Hathaway dies in Stratford>>
.............................................................
<<On August 6, 1623, longtime friend & protector of Galileo
Maffeo Barberini was elected Pope Urban VIII.>>
---------------------------------------------------------------
On the 14th anniversary of Anne Hathaway's death [August 6, 1637]
Ben Jonson was BURIED UPRIGHT against the wall of his crypt.
'Two feet by two feet will do for all I want'. - Jonson
---------------------------------------------------
*the T{urtle an[d} Phoenix]*
(Version I : http://tinyurl.com/jsxgzrf)
first published in 1601 as a supplement to a long
poem by Robert Chester, entitled Love's Martyr.
..............................................
Let the bird of lowdest lay,
On the sole Arabian tree,
Herauld sad and trumpet be:
To whose sound chaste wings obay.
But thou shriking harbinger,
Foule precurrer of the fiend,
Augour of the feuers end,
To this troupe come thou not neere.
From this Session interdict
Euery foule of tyrant wing,
Saue the Eagle feath'red King,
Keepe the obsequie so strict.
Let the Priest in Surples white,
That defunctiue Musicke can,
Be the death-deuining *SWAN*,
.
Lest the Requi[E]m lacke hi[S] right.
And [T]hou trebl[E] dated Cro[W],
That thy s[A]ble gende[R] mak'st,
With \T\he breath thou giu'st and tak'st,
Mongst our mourners shalt thou go.
......................................
. <= 9 =>
.
. L e s t t h e R e
. q u i {E} m l a c k
. e h i [S] r i g h t
. A n d [T] h o u t r
. e b l [E] d a t e d
. C r o [W] T h a t t
. h y s [A] b l e g e
. n d e [R] m a k's t,
. W i t h\T\ h e b r
. e a t h t h o u g
. i u's t a n d t a
. k's t,
.
[{E.}STEWAR\T\] 9
----------------------------------------------------
http://en.wikipedia.org/wiki/The_Phoenix_and_the_Turtle
<<[The Phoenix and the Turtle] was first published in 1601 as a supplement to a long poem by Robert Chester, entitled Love's Martyr. The full title of Chester's book explains the content:
http://tinyurl.com/gpqcxgk
Love's Mar(T)yr: or Rosalins Complaint. Allegorically [S]hadowing *THE TRUTH* of Loue, in the constan[T] *FATE* of [The Phoenix and the Turtle]. A Poeme ent[E]rlaced with much varietie and raritie; no[W] first translated out of the venerable It[A]lian Torquato Caeliano, by Robert Cheste[R]. With the true legend of famous King Arthur \T\he last of the nine Worthies, being the first Essay of a new Brytish Poet: collected out of diuerse Authenticall Records. To these are added some new compositions of seuerall moderne Writers whose names are subscribed to their seuerall workes, vpon the first subiect viz. [The Phoenix and Turtle].
......................................................
____ <= 35 =>
.
. LovesMar (T) yrorRosalinsComplaintAlleg
. orically [S] hadowingTHETRUTHofLoueinth
. econstan [T] FATEofthePhoenixandTurtleA
. Poemeent [E] rlacedwithmuchvarietieandr
. aritieno [W] firsttranslatedoutoftheven
. erableIt [A] lianTorquatoCaelianobyRobe
. rtCheste [R] WiththetruelegendoffamousK
. ingArthu r\T\ helastofthenineWorth
[(T)STEWAR\T\] 35 : Prob. ~ 1 in 3240
...................................................
Chester prefaced his poem with a short dedication addressed to the Phoenix and Turtledove. The Phoenix is envisaged as female and the dove as male:
Chester's main poem is a long allegory in which the relationship between the birds is explored, and its symbolism articulated. It incorporates the story of King Arthur, and a history of ancient Britain, emphasizing Welsh etymologies for British towns. It culminates with the joint immolation of the Phoenix and Turtledove, giving birth to a new and more beautiful bird from the ashes.
It is followed by a brief collection of "Diverse Poeticall Essaies"
by the "best and chiefest of our moderne writers, with their names
sub-scribed to their particular workes". These include, in addition
to Shakespeare, *BEN JONSON*, George Chapman, John Marston and the
anonymous "Vatum Chorus" and "Ignoto". All use the same imagery:
.......................
Hereafter follow Diverse Poeticall Essaies on the Former subiect; viz.:
*the T{urtle an[d} Phoenix]*. Done by the best and chiefest of our
moderne writers, with their names subscribed to their particular workes:
neuer before extant. And (now first) consecrated by them all generally
to the loue and merite of the *TRUE-noble* Knight, Sir lohn Salisburie.
..................................................
. *the T{urtle an[d} Phoenix]*
. {e.rutland}[oxenpho(r)d]
-----------------------------------------------------------
. *the T{urtle an[d} Phoenix]* (Version II ?)
.
. Let the bird of loudest lay,
. On the sole Arabian tree,
. Herald sad and trumpet be,
. To whose sound cha(S)te wings obey.
. But tho(U) shrieking harbinge(R),
. Foul precurrer of th(E) fiend,
. Augur of the fe(V)er's end,
. To this troup(E) come thou not near!
......................................
___ <= 18 =>
.
. L e t t h e b i r d o f l o u d e s
. t l a y,O n t h e s o l e A r a b i
. a n t r e e, H e r a l d s a d a n d
. t r u m p e t b e,T o w h o s e s o
. u n d c h a (S) t e w i n g s o b e y.
. B u t t h o (U) s h r i e k i n g h a
. r b i n g e (R),F o u l p r e c u r r
. e r o f t h (E) f i e n d,A u g u r o
. f t h e f e (V) e r's e n d,T o t h i
. s t r o u p (E) c o m e t h o u n o t
. n e a r!
{E.VERUS} 18 : (Oxford's Latin name)
. Prob. at start ~ 1 in 6,860
......................................
. Let the priest in surplice white,
. That defunctive music can,
. Be the death-divining *SWAN*,
. Lest the requ{I}/E/m lack hi{S} right.
. And {T}hou trebl{E}-dated cro{W},
. That thy s{A}ble gende{R} makest
. Wi{T}h (T)he breath (T)hou gives(T) and takes(T),
. 'Mongst our mourners shalt thou go.
......................................
___ <= 9 =>
. L e s t t h e r e
. q u {I}/E/ m l a c k
. h i {S} r i g h t. A
. n d {T} h o u t r e
. b l {E}-d a t e d c
. r o {W},T h a t t h
. y s {A} b l e g e n
. d e {R} m a k e s t
. W i {T} h (T) h e b r
. e a t h (T) h o u g
. i v e s (T) a n d t
. a k e s (T),
{I.STEWART} 9 Prob. ~ 1 in 137,000
......................................
. Whereupon it made this threne
. To the phoenix and the dove,
. Co-su(P)remes (A)nd sta(R)s of lo(V)e,
. As ch(O)rus to their tragic scene.
......................................
___ <= 6 =>
.
. C o- s u (P) r
. e m e s (A) n
. d s t a (R) s
. o f l o (V) e,
. A s c h (O) r
. u s t o t h
. e i r t r a
. g i c s c e
. n e.
.
(PARVO) 6 : (Rutland/Manners' motto)
. Prob. at end ~ 1 in 15,000
-------------------------------------------------------------
Sketch Book of Geoffrey Crayon, Gent. by Washington Irving.
.
THE BOAR'S HEAD TAVERN, EASTCHEAP.
A SHAKESPEARIAN RESEARCH.
.
There was something truly cheering in this triumph of warmth and
verdure over the frosty [T]hraldom of winter; it was, as the squire
observed, an emblem of Ch[R]istmas hospitality breaking through the
chills of ceremony [A]nd selfishness and thawing ev{E}ry heart into
a flow. He point(E)d [W]ith pleasure to the indication{S} of good cheer
reeking from th{E} chi(M)ney{S} of the co{M}fortabl{E} far{M}-hous(E)s
and low thatched cot[T]ages. "I love," said he, "to see this day w{E}ll
kept by rich and poor; it i[S] a great thing to have one day in the
year, at least, when you are sure of being welcome wherever you
go, and of having, as it were, the world all thrown open to you;
and I am almost disposed to join with Poor Robin in his
malediction on every churlish enemy to this honest festival:
.
. "`Those who at Christmas do repine,
. And would fain hence dispatch him,
. May they with old Duke Humphry dine,
. Or else may Squire Ketch catch'em.'"
.........................................................................
. <= 52 =>
.
. The r ewassomethingtru l y c hee r ing i nthistr i umphofw a r m t h a
. ndv e rdureoverthefros t y [T] hra l dom o fwinter i twasast h e s q u i
. reo b servedanemblemof C h [R] ist m ash o spitali t ybreaki n g t h r o
. ugh t hechillsofceremo n y [A] nds e lfi s hnessan d thawing e v{E}r y h
. ear t intoaflowHepoint(E)d [W] ith p lea s uretoth e indicat i o n{S}o f
. goo d cheerreekingfrom t h {E} chi(M)ney{S}oftheco{M}fortabl{E}f a r{M}h
. ous(E)sandlowthatchedc o t [T] age s Ilo v esaidhe t oseethi s d a y w{E}
. llk e ptbyrichandpoori t i [S] agr e att h ingtoha v eoneday i n t h e y
. ear a tleastwhenyouare s u r eof b ein g welcome w herever y o u g o
.
[STEWART] -52 : Prob. in phrase ~ 1 in 3,000
{ESME} 8,53
(ESME) 29 : Prob. 3{ESME}s in phrase ~ 1 in 30
----------------------------------------------------------------------
. Venus and Adonis (1593)
.
For there his smell with others being mingled,
The hot sent-snuffing hounds are driuen to doubt,
Ceasing their clamorous crie, till they haue singled
With much ado the cold fault cleanlie out,
Then do they spend their mouth's, *ECCHO replies* ,
As if an o{T}he{R} ch{A}se {W}er{E} in {T}he {S}ki{E}s.
...............................................
. <= 3 =>
.
. A s i
. f a n
. o {T} h
. e {R} c
. (H) {A} s
. (E) {W} e
. (r) {E} i
. (n) {T} h
. (E) {S} k
. (I) {E} s.
.............................
{E.STEWART} -3: Prob. in any V&A line ~ 1 in 2500
(HErnEI)
................................................
By THIS POORE WAT farre off vpon a hill,
Stands on his hinder-legs with listning eare,
To hearken if his foes pursue him still,
Anon their loud alarums (H)e doth h(E)are,
And (N)ow his g(R)iefe ma(Y) be compared well,
To one sore sicke, that heares the passing bell.
...............................................
. <= 3 =>
.
. (H) e d o t h h
. (E) a r e,A n d
. (N) o w h i s g
. (R) i e f e m a
. (Y) b e c o m p
. a r e d w e l l,
.
(HENRY) 7
................................................
................................................
Here kennel’d in a brake she fin[D]s a hound,
And asks the weary c[A]itiff for his master,
And the[R]e another licking of his wou[N]d,
’Gainst venom’d sores the on[LY] sovereign plaster;
And her[E] she meets another sadly scowling,
To whom she speaks, and he replies with howling.
................................................
. <= 24 =>
.
. H e r e k e n n e l’d i n a b r a k e s h e f i
. n [D]s a h o u n d,A n d a s k s t h e w e a r y
. c [A]i t i f f f o r h i s m a s t e r,A n d t h
. e [R]e a n o t h e r l i c k i n g o f h i s w o
. u [N]d,G a i n s t v e n o m’d s o r e s t h e o
. n [L Y]s o v e r e i g n p l a s t e r;A n d h e
. r [E]s h e m e e t s a n o t h e r s a d l y s c
. o w l i n g,
..............
[DARNLE] 24
----------------------------------------------------------
(HENRY){STEWART} = Albany, King Hamlet, Duncan/Banquo
https://en.wikipedia.org/wiki/Henry_Stuart,_Lord_Darnley
<<(HENRY){STEWART}, Duke of Albany (7 December 1545 – 10 February 1567), was king consort of Scotland from 1565 until his murder at Kirk o' Field in 1567. Many contemporary narratives describing his life and death refer to him as Lord [DARNLE]y, his title as heir apparent to the Earldom of Lennox, and it is by this appellation that he is now generally known. He was the second but eldest surviving son of Matthew Stewart, 4th Earl of Lennox. He was a first cousin and the 2nd husband of Mary, Queen of Scots, and was the father of her son James I.>>
------------------------------------------------
<<Aubrey says of Lady [MARY S]idney: "She was VERy salacious,
and she had a Contrivance that in the Spring of the yeare,
when the *STALLIONS* were to leape the Mares, they were to
be brought before such a part of the house, where she had a
vidette (a hole *to peepe* out at) to looke on them and please
herselfe with their Sport; and then she would act the like
sport herselfe with her *STALLIONS* . One of her great
Gallants was *CROOKE-BACK't Cecill* , Earl of Salisbury.">>
.......................................................
The Tragedy of King Richard the third. Containing, His
{T}reach{E}rous P{L}ots ag{A}inst his brother Clarence :
*THE PITTIEFULL* murther of his innocent nephewes :
his tyrannicall vsurpation :
with the whole course of his de{TEST}ed life,
and most deserued death. As it hath beene
lately Acted b[Y] the Right honourabl[E]
the Lord Chamberlai[N]e his seruants.
At Lon[D]on, Printed by Valent[I]ne Sims,
for Andrew (WI[S]E) , dwelling in Paules
{C}hurch-yard, at the signe of the Angell. 1597.
...........................................
____ <= 18 =>
.
. A s i t h a t h b e e n e l a t e l
. y A c t e d b [Y] t h e R i g h t h o
. n o u r a b L [E] T H E L o r d C h a
. m b e r l a i [N] e h i s s e r u a n
. t s A t L o n [D] o n P r i n t e d b
. y V a l e n t [I] n e S i m s f o r A
. n d r e w(W I [S] E)d w e l l i n g i
. n P a u l e s {C} h u r c h-y a r d,
.
[{C}SIDNEY] -18 Q1(1597)
[{C}ountesse of pembrooke: mary SIDNEY]
Prob. of [SIDNEY] ~ 1 in 2215
----------------------------------------------------
Art Neuendorffer