DEE

[Arthur Neuendorffer]

------------------------------------------------------
. . . . Sonnet 17

. WHo w/I/ll beleeue my verse in time to c[O]me
. If it were fild with your most [H]igh deserts?
. Though yet heauen k[N]owes it is but as a tombe
. Which hi[D]es your life , and shewes not half[E] your parts:
. If I could write the b[E]auty of your eyes,
...................................................
. . .<= 3x3x3 =>
.
. .W H o w /I/ l l b e l e e u e m y v e r s e i n t i m e
. .t o c [O] m e I f i t w e r e f i l d w i t h y o u r m
. .o s t [H] i g h d e s e r t s?T h o u g h y e t h e a u
. .e n k [N] o w e s i t i s b u t a s a t o m b e W h i c
. .h h i [D] e s y o u r l i f e,a n d s h e w e s n o t h
. .a l f [E] y o u r p a r t s:I f I c o u l d w r i t e t
. .h e b [E] a u t y o f y o u r e y e s,

[IOHN DEE] 27 :
-------------------------------------------------------
. . . . . . . . SONNET 33
.
. Full many a glorious morning have I seen
. Flatter the mountain tops with *soVEREign EYE*
.......................................................
Jacopo Carucci / Pontormo's 1525 Supper at Emmaus:
. . . https://tinyurl.com/bdc75nwf
...................................................................
. . . . . . . . {I}ohn [D]elta
.
. .T O T [H] E O N L I E B E G E T T E R O F T H E S E I N S V I N G S
. O N N [E T] S 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
....................................................
. Masonic pyramid / {I}ohn [D]ee Prob. ~1 in 476
.....................................
476 = (137 x 139)/(8 x 5)
...............................
. H . . . 8 : 137
. E T . . 5 : 139
. T I E . 1 ... no EIT/EIE/TIT
. H E T H 1 ... no HTEH
...................................................................
. . . . <= SONNET 33 (33 = 3[H]s + {I}) =>
.
T O T [H] E O N L I E B E G E T T E R O F T H E S E I N S V I N G S
O N N [E T] S 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
-------------------------------------------------------------------
Epigrammes in the oldest cut, and newest fashion (1599) John Weever
.
. . . . Epig 22. Ad Gulielmum Shakespeare
.
[H]onie-tong'd Shakespeare when I saw thin[E] issue
I swore Apollo got them and none o[T]her,
Their rosie-tainted features clot[H]'d in tissue,
...................................................................
. . . . . . . . <= 33 =>
.
[H] o n i e-t o n g'd S h a k e s p e a r e w h e n I s a w t h i n
[E] i s s u e I s w o r e A p o l l o g o t t h e m a n d n o n e o
[T] h e r,T h e i r r o s i e-t a i n t e d f e a t u r e s c l o t
[H]'d i n t i s s u e,S o m e h e a u e n b o r n g o d d e s s e
.
[HETH] 33 : Prob. from start skip 33 ~ 1 in 935
.......................................................
Some heauen born goddesse said to be their mo∣ther:
Rose-checkt Adonis with his amber tresses,
Faire fire-hot Ʋenus charming him to loue her,
Chaste Lucretia virgine-like her dresses,
Prowd lust-stung Tarquine seeking still to proue her:
Romea Richard; more whose names I know not,
Their sugred tongues, and power attractiue beuty
..............................................................
Say t[H]ey ar[E] Sain[T]s alt[H]ogh that Sts t[H]ey s[H]ew not
For thousands vowes [T]o th[E]m subiectiue du[T]ie:
Th[E]y burn in loue [T]hy childrē S[H]akespear {HET|THē},
Go, wo thy Muse more Nymphish brood beget {THE}m.
........................................................
. . . . . . . . . . <= 27 =>
.
. . . . . . S a y t[H]e y a r[E]S a i n[T]s a l t[H]o g
. h t h a t S t s t[H]e y s[H]e w n o t F o r t h o u s
. a n d s v o w e s[T]o t h[E]m s u b i e c t i u e d u
. t i e:T h[E]y b u r n i n l o u e[T]h y c h i l d r ē
. S[H]a k e s p e a r{H E T|T H ē}G o,w o t[H]y M u s e
. m o r e N y m p h i s h b r o o d b e g e t{T H E}m.
.
[HETH] -23,5,31
{HET}, v. t. & i. To *PROMISE*. [Obs.] --Chaucer.
-------------------------------------------------------
. . . <= SONNET 34 (34 = 3[HETH]s + {YODH}) =>

T O T [H] E O N L I E B E G E T T E {R} O F T H E S E I N S V I N G S O
N N [E T] S 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
.......................................................................
ABRAHAM purchased the Cave Of Machpelah from the sons of [HETH].
---------------------------------------------------------------------
. . . . King Lear [III, 4]
.
Edgar: Childe Rowland to the darke Tower came,
. His word was still, fie, foh, and fumme,
. I smell the blood of a Brittish man.
---------------------------------------------------------------------
https://en.wikipedia.org/wiki/Widdershins

<<Widdershins (sometimes withershins, widershins or widderschynnes) is a term meaning to go counter-clockwise or to walk around an object by always keeping it on the left. Literally, it means to take a course opposite the apparent motion of the sun viewed from the Northern Hemisphere. The earliest recorded use of the word, as cited by the Oxford English Dictionary, is in a 1513 translation of the Aeneid, where it is found in the phrase "Abaisit I wolx, and widdersyns start my hair." In this sense, "widdershins start my hair" means "my hair stood on end". Because the sun played a highly important role in older religions, to go against it was considered bad luck for sun-worshiping traditions. It was considered unlucky in Britain to travel in an anticlockwise (not sunwise) direction around a church, and a number of folk myths make reference to this superstition, e.g. Childe Rowland, where the protagonist and his sister are transported to Elfland after his sister runs widdershins round a church. In Robert Louis Stevenson's tale "The Song of the Morrow," an old crone on the beach dances "widdershins".
.........................................................
. . . . King Lear [III, 4]
.
Edgar: Childe Rowland to the darke Tower came,
. His word was still, fie, foh, and fumme,
. I smell the blood of a Brittish man.
.........................................................
In contrast, in Judaism circles are sometimes walked anticlockwise. For example, when a bride circles her groom seven times before marriage, when dancing around the bimah during Simchat Torah (or when dancing in a circle at any time), or when the Sefer Torah is brought out of the ark (ark is approached from the right, and departed from the left). This has its origins in the Beis Hamikdash, where in order not to get in each other's way, the priests would walk around the altar anticlockwise while performing their duties. In Judaism, starting things from the right side is considered to be important, since the right side is the side of Chesed (kindness) while the left side is the side of Gevurah (judgment). For example, it is a law to put on the right shoe first and take off the left shoe first.>>
---------------------------------------------------------------
Dennis wrote:
********************************
I.M. of the First Folio Shakespeare and Other Mabbe Problems
Arthur W. Secord

Until the mid- nineteenth century, the I.M whose verses are among those commending the first folio Shakespeare (F1) was assumed to be John Marston...
[Bolton] Corney called attention to two phrases common to Mabbe and I.M., to Mabbe’s reputation as a wit, to his connection with Edward Blount, one of the publishers of F1, and to the fact that commendatory verses were sometimes written in the interest of the publisher(...) Though Corney misread Blount, other evidence, internal and external supports his general conclusion. The external evidence, which is the more significant, though the internal may have first caught Corney’s eye, consists of a series of facts linking Mabbe with Edward Blount, Leonard Digges and Ben Jonson, all three of whom had a part in both Mabbe’s The Rogue and F1. There is the additional fact that Mabbe was pretty well known to seventeenth century readers and that a number of dedications and title-pages refer to him as I.M.

It may clarify the problem to place it in its setting in 1621-23 when the Jaggards with Blount and two other stationers were publishing F1. Blount had for two decades been a power in the trade, and, though he may not, as some have argued, have been the editor of F1, he was obviously a leader in the project. James Mabbe, grandson of a former chamberlain of London, had spent two decades in Magdalen College, Oxford, had been in Spain as secretary to SirJohn Digby, and had been concerned with several books Blount had published. Leonard Digges, son and grandson of distinguished mathematicians and brother of Sir Dudley Digges of the East India Company, was like Mabbe an Oxford man, though not of Magdalen, and a devotee of Spanish literature. His connection with Blount was of more recent origin than Mabbe’s; but it was close enough for Lee to call him and Mabbe Blount’s allies.

Mabbe and Digges must have known each other well. Each had translated a Spanish picaresque novel which Blount published a year or so before F1 but which was in the press simultaneously with it. Digges’s translation was the Gerardo of Gonzalo de Cespedes y Meneses; it was dedicated to the Earls of Pembroke and Montgomery, sponsors of F1. Mabbe’s was, of course, Aleman’s Guzman, called in English The Rogue. That both Digges and Ben Jonson wrote verses commending The Rogue increases the likelihood that Mabbe joined with Digges and Jonson in commending F1.

In the light of these facts, it is significant that the verses of Digges and I.M. in F1 were placed as a unit on the recto of a leaf not contemplated when the rest of the preliminary was printed. All bibliographers say that the original plan was for seven leaves – three sheets of six leaves and the title leaf to be printed separately and inserted between leaves one and two of the quire; and that a fourth sheet was later so printed and folded as to have on the recto of the first leaf the verses of Digges and I.M. and on the recto of the other a half-title over a list of the actors. Opinions differ about the proper placing of the new sheet, but all agree that it was an afterthought...

The internal evidence that Mabbe if the I.M. of F1 consists principally of two phrases common to Mabbe and I.M. Mabbe, paraphrasing Aleman’s Guzman, *was chiding a haughty cavalier for not considering that he is only a man*,

a representant, a poor kinde of Comedian, that acts his part upon the Stage of this World, and comes forth with this or that Office...and that when the play is done, (which can not be long) he must presently enter into the Tyring-house of the grave...

The verses in F1 read:

Wee wondred (Shake-speare) that thou went’st so soone
From the Worlds-Stage, to the Graves-Tyring-roome.
Wee thought thee dead, but this thy printed worth,
Tels thy Spectators, that thou went’st but forth
To enter with applause An Actors Art,
Can dye, and live, to acte a second part.
That’s but an Exit of Mortalitie;
This, a Re-entrance to a Plaudite.

The italicized phrases were not unusual in English literature of the seventeenth century. Professor T.W. Baldwin has discussed the almost endless variations of “All the world’s a stage.” He now calls my attention to the use by John Davies of the other, less common phrase. In the Scourge of Folly (1610) Davies speaks twice of death as a tyring house. Remarkably enough, though critics have not called attention to it, the phrase appears in another of the commendations of F1. Hugh Holland’s sonnet calls the grave death’s “publique tyring-house.”

(Had Mabbe not liked these phrases, he would not have used them in The Rogue, as they are not very close to the original...)
********************************
------------------------------------------------------
Digges commendatory poem to the 1640 edition of Poems:
Written by Wil. Shakespeare, Gent. (1623? - 1635):
. . . . http://tinyurl.com/l2s76f3
.
.... UPON MASTER WILLIAM SHAKESPEARE,
.... THE DECEASED AUTHOUR, AND HIS POEMS.
.
Poets are borne not mad{E}, wh{E|N} I w{O|U|L}d p{R|O}ve
This *TRUTH* , the glad r[E]memberance I must lo[V]e
Of n[{E}V{E}R] {D}y{I}ng Shak[E]speare, who alone,
Is a[R]gument enough to mak[E] that one.
First, that he was a Poet none would doubt,
That heard th'applause of what he sees set out
Imprinted; where thou hast (I will not say)
Reader his Workes for to contrive a Play:
To him twas none) the patterne of all wit,
Art w{I}thout Art unparalel{D} as yet.
Next Nature on{E}ly helpt him, for look{E} thorow
This whole Booke, thou shalt find he doth not borrow,
One phrase from Greekes, nor Latines imitate,
.....................................................
. . . . . . <= 18 =>
.
. T h i s *T .R. U. T . H* t h e g l a d r [E]
. m e m b. e .r. a. n . c. e I m u s t l o [V]
. e O f n[{E} V {E} R] {D} y{I}n g S h a k [E]
. s p e a. r .e, w. h . o. a l o n e,I s a [R]
. g u m e. n .t. e. n . o. u g h t o m a k [E]
. t h a t. o .n. e. F . i. r s t,t h a t h. e
. w a s a. P .o. e. t . n. o n e w o u l d. d
. o u b t, T .h. a. t . h. e a r d t h'a p. p
. l a u s. e .o. f. w . h. a t h e s e e s. s
. e t o u. t .I. m. p . r. i n t e d;w h e. r
. e t h o. u .h. a. s . t (I w i l l n o t. s
. a y)R e. a .d. e. r . h. i s W o r k e s. f
. o r t o. c .o. n. t . r. i v e a P l a y: T
. o h i m. t .w. a. s . n. o n e)t h e p a. t
. t e r n. e .o. f. a . l. l w i t,A r t w {I}
. t h o u. t .A. r. t . u. n p a r a l e l {D}
. a s y e. t. N. e. x . t. N a t u r e o n {E}
. l y h e. l. p. t. h . i. m,f o r l o o k {E}
.
{I.DEE} -2,18
[E.VERE] . 18 : Prob. near top ~ 1 in 95
............................................................
Yet these sometimes, even at a friends desire
Acted, have scarce defrai'd the Seacoale fire
And doore-keepers: when let but Falstaffe come,
Hall, Peines, the rest you scarce shall have a roome
All is so pester'd: let but Beatrice
And Benedicke be seene, loe in a trice
The Cockpit Galleries, Boxes, all are full
To heare Maluoglio that crosse garter'd Gull.
............................................................
Yet these somet{I|M>es, even at a frien{D}s desire
Acted, h<A>v{E} scarce defrai'{D} th{E} Seacoale f{I|R>e
An{D} door{E}-keep{E}rs: whe(N) let but Fa<L>staffe c(O)me,
Hall, Peines, [T]he r(H)st [Y|O>u scar[C]e shall [H]ave a ro[O]me
All is so (P)ester'd: let but Beatrice
And Benedicke be seene, loe in a trice
The Cockpit Galleries, Boxes, all are full
To heare Maluoglio that crosse garter'd Gull.
.......................
. . . . <= 6 =>
.
. . S. e. a. c. o. a
. . l. e. f {I} r. e
. . A. n {D}.d. o. o
. . r {E} k. e. e. p
. .{E} r. s: w. h. e
. . n. l. e. t. b. u
. . t. F. a. l. s. t
. . a. f. f. e. c. o
. . m. e, H. a. l. l,
. . P. e. i. n. e. s,
. .[T] h. e. r. e. s
. . t [Y] o. u. s. c
. . a. r [C] e. s. h
. . a. l. l [H] a. v
. . e. a. r. o [O] m
.
<MARLO>. 29
(PHEON) -17
{I.DEE}. 16
{I.DEE}. 5,-13
[TYCHO]. 7
--------------------------------------------------------------
https://en.wikipedia.org/wiki/Thomas_Digges

<<After the death of his father, Thomas Digges (c. 1546 – 24 August 1595) grew up under the guardianship of {I}ohn {DEE}. {I}ohn {DEE} (13 July 1527 – 1608 or 1609) was a friend of [TYCHO] Brahe and familiar with the work (translated into English by his ward and assistant, Thomas Digges) of Nicolaus Copernicus. Digges was an English mathematician and astronomer. Digges attempted to determine the parallax of the 1572 supernova observed by Tycho Brahe, and concluded it had to be beyond the orbit of the Moon. This contradicted Aristotle's view of the universe, according to which no change could take place among the fixed stars. He was the first to expound the Copernican system in English but discarded the notion of a fixed shell of immoveable stars to postulate infinitely many stars at varying distances. He was also first to postulate the "dark night sky paradox". Digges married Anne St Leger (1555–1636). In his will he named two surviving sons, Sir Dudley Digges (1583–1639), politician and statesman, and Leonard Digges (1588–1635), poet, and two surviving daughters, Margaret and Ursula. After Digges's death, his widow, Anne, married Thomas Russell of Alderminster in Warwickshire, "whom in 1616 William Shakespeare named as an overseer of his will".>>
--------------------------------------------------------------
https://en.wikipedia.org/wiki/Leonard_Digges_(writer)

<<Leonard Digges (1588 – 7 April 1635) was an accomplished Hispanist and minor poet, a younger son of the astronomer Thomas Digges (1545–95). After his father's death in 1595, his mother married Thomas Russell of Alderminster, now in Warwickshire, who was named by William Shakespeare as one of the two overseers of his will. Leonard Digges matriculated at University College, Oxford in 1603, the year of his mother's remarriage, and graduated BA in 1606. He may have traveled to Spain with fellow Hispanist James Mabbe, whom he knew from Oxford, for he wrote a note on the flyleaf of a book which Mabbe sent from Madrid to Will Baker, also a friend from Oxford days. The book was a copy of Rimas by Lope de Vega (published in 1613); it still survives, in the library of Balliol College. Digges's inscription reads:

. . Will Baker: Knowinge
. . that Mr Mab: was to
. . sende you this Booke
. . of sonets, wch with Spaniards
. . here is accounted of their
. . lope de Vega as in Englande
. . wee sholde of or: Will
. . Shakespeare. I colde not
. . but insert thus much to
. . you, that if you like
. . him not, you muste neuer
. . neuer reade Spanishe Poet

. . . . Leo:Digges

Digges translated Claudian's The Rape of Proserpine (printed 1617). His translation of Varia fortuna de soldado Píndaro, by Gonzalo de Céspedes y Meneses, was published in 1622 as Gerardo, the Unfortunate Spaniard, and was used by John Fletcher as a source for his plays The Spanish Curate and The Maid in the Mill. Digges's publisher was Edward Blount, a close friend of Mabbe's and one of the syndicate which published Shakespeare's First Folio in 1623. Digges and Mabbe both contributed prefatory poems to the Folio, as did Ben Jonson – also published by Blount. The previous year, Digges and Jonson had both contributed commendatory verses to a work translated by Mabbe and published by Blount. Commendatory verses by Digges were also included in an edition of Shakespeare's Poems, published by John Benson in 1640, five years after Digges had died. Freehafer suggests that since these verses refer to Shakespeare's plays rather than to his poems, they may have been intended for the Second Folio.

Anthony à Wood said of Leonard Digges that "upon his supplication made to the venerable convocation" of University College Oxford, Digges was made M.A. in 1626, "in consideration that he had spent many years in good letters in transmarine universities". He lived in the College from then until his death in 1635, and was buried in the College chapel (no longer standing).>>
----------------------------------------------------------
. . . . First Folio (1623)
TO THE MEMORIE of the deceased Authour
. . *MAISTER W. SHAKESPEARE*

SHake-speare, at length thy pious fellowes giue
The world thy Workes: thy Workes, by which, out-liue
Thy Tombe, thy name must: when that {STONE} is rent,
And Time dissolues thy {STRATFORD MONIMENT},
Here we aliue shall view thee still. This Booke,
When Brasse and Marble fade, shall make thee looke
Fresh to all Ages: when Posteritie
Shall loath what's new, thinke all is prodegie
That is not *S[H]AKE-SPEARES* ; eu'ry Line, each Verse
Here shall reuiue, re[D]eeme thee from thy Herse.
Nor Fire, nor cankring Age, a{S N|A]so said,
Of his, {T}hy wit-fraught B{O}oke shall once i{N}vade.
[N]or shall I {E}'re beleev{E}, or think{E} thee dea{D}.
(Though m{I}st) [U]ntill our bankrout Stage be sped
(Impossible) with som[E] new straine t' out-do
{P}assions of Iuliet, and her Romeo;
{O}[R] till I heare a Scene more nobly take,
{T}hen when thy half=[S]word parlying Romans spake.
{T}ill these, till any of thy (v)olumes rest
Shall with more fire, more feeling be expr{E}st,
Be sure, our Shake=spear{E}, thou canst n[EV{E}R DYE],
But cr{O}wn'{D} with Lawrell, l{I}ue eternally.

L. Digges.
---------------------------------------------------------
. . . . . . . . . . . <= 45 =>
.
. when .Posteri. tieS. h .a. llloathwha .tsnewthinkeallispr
. odeg .ieThati. snot *S [H] AKESPEARES* euryLineeachVerseH
. eres .hallreu. iuer. e [D] eemetheefr .omthyHerseNorFiren
. orca .nkringA. geas. N [A] sosaidOfhi .sthywitfraughtBook
. esha .lloncei. nuad. e [N] orshallIer .ebeleeueorthinketh
. eede .adThoug. hmis. t [U] ntillourba .nkroutStagebespedI
. mpos .siblewi. thso. m [E] newstraine .toutdoPassionsofIu
. liet .andherR. omeo. O [R] tillIheare .aScenemorenoblytak
. eThe .nwhenth. yhal. f [S] wordparlyi .ngRomansspakeTillt
. hese .tillany. ofth. y (v) olumesrest .Shallwithmorefirem
. oref .eelingb. eexp. r {E} stBesureou .rShakespearethouca
. nstn [EVERDYE] Butc. r {O} wndwithLaw .rellliueeternally.
.
[H.DANUERS] 45 : Prob. in poem ~ 1 in 192,000
----------------------------------------------------------
. Amazement : 1640 Benson
.
. MY love is strengthned though more weake in seeming
. I love not lesse, though lesse the show appeare,
. That love is marchandiz'd, whose rich esteeming,
. The own[E]rs tongu[E] (DOTH} PUB[L]ISH {E}VER[Y] {WH}E{R}E) .
. Ou[R] lov{E} was [N]ew, and th[E]n but in t[H]e spring,
----------------------------------------------------------
_______ Sonnet 102 (Only Sonnet's *PUBLISH*)
.
. MY LOVE IS Strengthned though more weake in seeming
. I love not lesse, thogh lesse the show appeare,
. That love is marchandiz'd, whose ritch esteeming,
.
. The own[E]rs tongu[E] (DOTH} PUB[L]ISH {E}VER[Y] {WH}E{R}E) .
. Ou[R] lov{E} was [N]ew, and th[E]n but in t[H]e spring,
.
.{WH}en I was wont to greet it with my laies,
. As Philomell in summers front doth singe,
. And stops his pipe in growth of riper daies:
. Not that the summer is lesse pleasant now
. Then when her mournefull himns did hush the night,
. But that wild musick burthens *EVERy bow* ,
. And sweets growne common loose their deare delight.
. Therefore like her, I some-time hold my tongue:
. Because I would not dull you wiTH MY SONGE.
..................................................
. . . . . <= 8 =>
.
. . .T h(E)o w n [E]
. .r s t(O)n g u [E]
. (D O T{H}P U B [L]
. .I S H{E}V E R [Y]
. {W H}E{R}E)O u [R]
. .l o v{E}w a s [N]
. .e w,a n d t h [E]
. .n b u t i n t [H]
. .e s p r i n g,{W H}
.
Sidney friend/Queen's Champion:
[HENRY LEE] -8 : Prob. in any Sonnet ~ 1 in 1765
---------------------------------------------------------------------
https://wikivisually.com/wiki/Henry_Danvers%2C_1st_Earl_of_Danby

<<On the night of the death of the 17th Earl of Oxford [Sun., June 24, 1604]
Baron [H]enry [DANUERS], the Earl of Southampton and Sir Henry Neville as
well as the a [LEE] were arrested by order of the king and Privy Council.
.......................................................................
Baron [DANUERS] had been employed in Ireland under the Earl of Essex, and
Charles Blount, 8th Baron Mountjoy, successive lords-lieutenant of Ireland.>>
-----------------------------------------------------------
Art Neuendorffer

[Dennis]

Post by Arthur Neuendorffer
------------------------------------------------------
. . . . Sonnet 17
. WHo w/I/ll beleeue my verse in time to c[O]me
. If it were fild with your most [H]igh deserts?
. Though yet heauen k[N]owes it is but as a tombe
. If I could write the b[E]auty of your eyes,
...................................................
. . .<= 3x3x3 =>
.
. .W H o w /I/ l l b e l e e u e m y v e r s e i n t i m e
. .t o c [O] m e I f i t w e r e f i l d w i t h y o u r m
. .o s t [H] i g h d e s e r t s?T h o u g h y e t h e a u
. .e n k [N] o w e s i t i s b u t a s a t o m b e W h i c
. .h h i [D] e s y o u r l i f e,a n d s h e w e s n o t h
. .a l f [E] y o u r p a r t s:I f I c o u l d w r i t e t
. .h e b [E] a u t y o f y o u r e y e s,
-------------------------------------------------------
. . . . . . . . SONNET 33
.
. Full many a glorious morning have I seen
. Flatter the mountain tops with *soVEREign EYE*
.......................................................
. . . https://tinyurl.com/bdc75nwf
...................................................................
. . . . . . . . {I}ohn [D]elta
.
. .T O T [H] E O N L I E B E G E T T E R O F T H E S E I N S V I N G S
. O N N [E T] S 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
....................................................
. Masonic pyramid / {I}ohn [D]ee Prob. ~1 in 476
.....................................
476 = (137 x 139)/(8 x 5)
...............................
. H . . . 8 : 137
. E T . . 5 : 139
. T I E . 1 ... no EIT/EIE/TIT
. H E T H 1 ... no HTEH
...................................................................
. . . . <= SONNET 33 (33 = 3[H]s + {I}) =>
.
T O T [H] E O N L I E B E G E T T E R O F T H E S E I N S V I N G S
O N N [E T] S 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
-------------------------------------------------------------------
Epigrammes in the oldest cut, and newest fashion (1599) John Weever
.
. . . . Epig 22. Ad Gulielmum Shakespeare
.
[H]onie-tong'd Shakespeare when I saw thin[E] issue
I swore Apollo got them and none o[T]her,
Their rosie-tainted features clot[H]'d in tissue,
...................................................................
. . . . . . . . <= 33 =>
.
[H] o n i e-t o n g'd S h a k e s p e a r e w h e n I s a w t h i n
[E] i s s u e I s w o r e A p o l l o g o t t h e m a n d n o n e o
[T] h e r,T h e i r r o s i e-t a i n t e d f e a t u r e s c l o t
[H]'d i n t i s s u e,S o m e h e a u e n b o r n g o d d e s s e
.
[HETH] 33 : Prob. from start skip 33 ~ 1 in 935
.......................................................
Rose-checkt Adonis with his amber tresses,
Faire fire-hot Ʋenus charming him to loue her,
Chaste Lucretia virgine-like her dresses,
Romea Richard; more whose names I know not,
Their sugred tongues, and power attractiue beuty
..............................................................
Say t[H]ey ar[E] Sain[T]s alt[H]ogh that Sts t[H]ey s[H]ew not
Th[E]y burn in loue [T]hy childrē S[H]akespear {HET|THē},
Go, wo thy Muse more Nymphish brood beget {THE}m.
........................................................
. . . . . . . . . . <= 27 =>
.
. . . . . . S a y t[H]e y a r[E]S a i n[T]s a l t[H]o g
. h t h a t S t s t[H]e y s[H]e w n o t F o r t h o u s
. a n d s v o w e s[T]o t h[E]m s u b i e c t i u e d u
. t i e:T h[E]y b u r n i n l o u e[T]h y c h i l d r ē
. S[H]a k e s p e a r{H E T|T H ē}G o,w o t[H]y M u s e
. m o r e N y m p h i s h b r o o d b e g e t{T H E}m.
.
[HETH] -23,5,31
{HET}, v. t. & i. To *PROMISE*. [Obs.] --Chaucer.
-------------------------------------------------------
. . . <= SONNET 34 (34 = 3[HETH]s + {YODH}) =>
T O T [H] E O N L I E B E G E T T E {R} O F T H E S E I N S V I N G S O
N N [E T] S 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
.......................................................................
ABRAHAM purchased the Cave Of Machpelah from the sons of [HETH].
---------------------------------------------------------------------
. . . . King Lear [III, 4]
.
Edgar: Childe Rowland to the darke Tower came,
. His word was still, fie, foh, and fumme,
. I smell the blood of a Brittish man.
---------------------------------------------------------------------
https://en.wikipedia.org/wiki/Widdershins
<<Widdershins (sometimes withershins, widershins or widderschynnes) is a term meaning to go counter-clockwise or to walk around an object by always keeping it on the left. Literally, it means to take a course opposite the apparent motion of the sun viewed from the Northern Hemisphere. The earliest recorded use of the word, as cited by the Oxford English Dictionary, is in a 1513 translation of the Aeneid, where it is found in the phrase "Abaisit I wolx, and widdersyns start my hair." In this sense, "widdershins start my hair" means "my hair stood on end". Because the sun played a highly important role in older religions, to go against it was considered bad luck for sun-worshiping traditions. It was considered unlucky in Britain to travel in an anticlockwise (not sunwise) direction around a church, and a number of folk myths make reference to this superstition, e.g. Childe Rowland, where the protagonist and his sister are transported to Elfland after his sister runs widdershins round a church. In Robert Louis Stevenson's tale "The Song of the Morrow," an old crone on the beach dances "widdershins".
.........................................................
. . . . King Lear [III, 4]
.
Edgar: Childe Rowland to the darke Tower came,
. His word was still, fie, foh, and fumme,
. I smell the blood of a Brittish man.
.........................................................
In contrast, in Judaism circles are sometimes walked anticlockwise. For example, when a bride circles her groom seven times before marriage, when dancing around the bimah during Simchat Torah (or when dancing in a circle at any time), or when the Sefer Torah is brought out of the ark (ark is approached from the right, and departed from the left). This has its origins in the Beis Hamikdash, where in order not to get in each other's way, the priests would walk around the altar anticlockwise while performing their duties. In Judaism, starting things from the right side is considered to be important, since the right side is the side of Chesed (kindness) while the left side is the side of Gevurah (judgment). For example, it is a law to put on the right shoe first and take off the left shoe first.>>
---------------------------------------------------------------
********************************
I.M. of the First Folio Shakespeare and Other Mabbe Problems
Arthur W. Secord
Until the mid- nineteenth century, the I.M whose verses are among those commending the first folio Shakespeare (F1) was assumed to be John Marston...
[Bolton] Corney called attention to two phrases common to Mabbe and I.M., to Mabbe’s reputation as a wit, to his connection with Edward Blount, one of the publishers of F1, and to the fact that commendatory verses were sometimes written in the interest of the publisher(...) Though Corney misread Blount, other evidence, internal and external supports his general conclusion. The external evidence, which is the more significant, though the internal may have first caught Corney’s eye, consists of a series of facts linking Mabbe with Edward Blount, Leonard Digges and Ben Jonson, all three of whom had a part in both Mabbe’s The Rogue and F1. There is the additional fact that Mabbe was pretty well known to seventeenth century readers and that a number of dedications and title-pages refer to him as I.M.
It may clarify the problem to place it in its setting in 1621-23 when the Jaggards with Blount and two other stationers were publishing F1. Blount had for two decades been a power in the trade, and, though he may not, as some have argued, have been the editor of F1, he was obviously a leader in the project. James Mabbe, grandson of a former chamberlain of London, had spent two decades in Magdalen College, Oxford, had been in Spain as secretary to SirJohn Digby, and had been concerned with several books Blount had published. Leonard Digges, son and grandson of distinguished mathematicians and brother of Sir Dudley Digges of the East India Company, was like Mabbe an Oxford man, though not of Magdalen, and a devotee of Spanish literature. His connection with Blount was of more recent origin than Mabbe’s; but it was close enough for Lee to call him and Mabbe Blount’s allies.
Mabbe and Digges must have known each other well. Each had translated a Spanish picaresque novel which Blount published a year or so before F1 but which was in the press simultaneously with it. Digges’s translation was the Gerardo of Gonzalo de Cespedes y Meneses; it was dedicated to the Earls of Pembroke and Montgomery, sponsors of F1. Mabbe’s was, of course, Aleman’s Guzman, called in English The Rogue. That both Digges and Ben Jonson wrote verses commending The Rogue increases the likelihood that Mabbe joined with Digges and Jonson in commending F1.
In the light of these facts, it is significant that the verses of Digges and I.M. in F1 were placed as a unit on the recto of a leaf not contemplated when the rest of the preliminary was printed. All bibliographers say that the original plan was for seven leaves – three sheets of six leaves and the title leaf to be printed separately and inserted between leaves one and two of the quire; and that a fourth sheet was later so printed and folded as to have on the recto of the first leaf the verses of Digges and I.M. and on the recto of the other a half-title over a list of the actors. Opinions differ about the proper placing of the new sheet, but all agree that it was an afterthought...
The internal evidence that Mabbe if the I.M. of F1 consists principally of two phrases common to Mabbe and I.M. Mabbe, paraphrasing Aleman’s Guzman, *was chiding a haughty cavalier for not considering that he is only a man*,
a representant, a poor kinde of Comedian, that acts his part upon the Stage of this World, and comes forth with this or that Office...and that when the play is done, (which can not be long) he must presently enter into the Tyring-house of the grave...
Wee wondred (Shake-speare) that thou went’st so soone
From the Worlds-Stage, to the Graves-Tyring-roome.
Wee thought thee dead, but this thy printed worth,
Tels thy Spectators, that thou went’st but forth
To enter with applause An Actors Art,
Can dye, and live, to acte a second part.
That’s but an Exit of Mortalitie;
This, a Re-entrance to a Plaudite.
The italicized phrases were not unusual in English literature of the seventeenth century. Professor T.W. Baldwin has discussed the almost endless variations of “All the world’s a stage.” He now calls my attention to the use by John Davies of the other, less common phrase. In the Scourge of Folly (1610) Davies speaks twice of death as a tyring house. Remarkably enough, though critics have not called attention to it, the phrase appears in another of the commendations of F1. Hugh Holland’s sonnet calls the grave death’s “publique tyring-house.”
(Had Mabbe not liked these phrases, he would not have used them in The Rogue, as they are not very close to the original...)
********************************
------------------------------------------------------
. . . . http://tinyurl.com/l2s76f3
.
.... UPON MASTER WILLIAM SHAKESPEARE,
.... THE DECEASED AUTHOUR, AND HIS POEMS.
.
Poets are borne not mad{E}, wh{E|N} I w{O|U|L}d p{R|O}ve
This *TRUTH* , the glad r[E]memberance I must lo[V]e
Of n[{E}V{E}R] {D}y{I}ng Shak[E]speare, who alone,
Is a[R]gument enough to mak[E] that one.
First, that he was a Poet none would doubt,
That heard th'applause of what he sees set out
Imprinted; where thou hast (I will not say)
To him twas none) the patterne of all wit,
Art w{I}thout Art unparalel{D} as yet.
Next Nature on{E}ly helpt him, for look{E} thorow
This whole Booke, thou shalt find he doth not borrow,
One phrase from Greekes, nor Latines imitate,
.....................................................
. . . . . . <= 18 =>
.
. T h i s *T .R. U. T . H* t h e g l a d r [E]
. m e m b. e .r. a. n . c. e I m u s t l o [V]
. e O f n[{E} V {E} R] {D} y{I}n g S h a k [E]
. s p e a. r .e, w. h . o. a l o n e,I s a [R]
. g u m e. n .t. e. n . o. u g h t o m a k [E]
. t h a t. o .n. e. F . i. r s t,t h a t h. e
. w a s a. P .o. e. t . n. o n e w o u l d. d
. o u b t, T .h. a. t . h. e a r d t h'a p. p
. l a u s. e .o. f. w . h. a t h e s e e s. s
. e t o u. t .I. m. p . r. i n t e d;w h e. r
. e t h o. u .h. a. s . t (I w i l l n o t. s
. a y)R e. a .d. e. r . h. i s W o r k e s. f
. o r t o. c .o. n. t . r. i v e a P l a y: T
. o h i m. t .w. a. s . n. o n e)t h e p a. t
. t e r n. e .o. f. a . l. l w i t,A r t w {I}
. t h o u. t .A. r. t . u. n p a r a l e l {D}
. a s y e. t. N. e. x . t. N a t u r e o n {E}
. l y h e. l. p. t. h . i. m,f o r l o o k {E}
.
{I.DEE} -2,18
[E.VERE] . 18 : Prob. near top ~ 1 in 95
............................................................
Yet these sometimes, even at a friends desire
Acted, have scarce defrai'd the Seacoale fire
And doore-keepers: when let but Falstaffe come,
Hall, Peines, the rest you scarce shall have a roome
All is so pester'd: let but Beatrice
And Benedicke be seene, loe in a trice
The Cockpit Galleries, Boxes, all are full
To heare Maluoglio that crosse garter'd Gull.
............................................................
Yet these somet{I|M>es, even at a frien{D}s desire
Acted, h<A>v{E} scarce defrai'{D} th{E} Seacoale f{I|R>e
An{D} door{E}-keep{E}rs: whe(N) let but Fa<L>staffe c(O)me,
Hall, Peines, [T]he r(H)st [Y|O>u scar[C]e shall [H]ave a ro[O]me
All is so (P)ester'd: let but Beatrice
And Benedicke be seene, loe in a trice
The Cockpit Galleries, Boxes, all are full
To heare Maluoglio that crosse garter'd Gull.
.......................
. . . . <= 6 =>
.
. . S. e. a. c. o. a
. . l. e. f {I} r. e
. . A. n {D}.d. o. o
. . r {E} k. e. e. p
. .{E} r. s: w. h. e
. . n. l. e. t. b. u
. . t. F. a. l. s. t
. . a. f. f. e. c. o
. . m. e, H. a. l. l,
. . P. e. i. n. e. s,
. .[T] h. e. r. e. s
. . t [Y] o. u. s. c
. . a. r [C] e. s. h
. . a. l. l [H] a. v
. . e. a. r. o [O] m
.
<MARLO>. 29
(PHEON) -17
{I.DEE}. 16
{I.DEE}. 5,-13
[TYCHO]. 7
--------------------------------------------------------------
https://en.wikipedia.org/wiki/Thomas_Digges
<<After the death of his father, Thomas Digges (c. 1546 – 24 August 1595) grew up under the guardianship of {I}ohn {DEE}. {I}ohn {DEE} (13 July 1527 – 1608 or 1609) was a friend of [TYCHO] Brahe and familiar with the work (translated into English by his ward and assistant, Thomas Digges) of Nicolaus Copernicus. Digges was an English mathematician and astronomer. Digges attempted to determine the parallax of the 1572 supernova observed by Tycho Brahe, and concluded it had to be beyond the orbit of the Moon. This contradicted Aristotle's view of the universe, according to which no change could take place among the fixed stars. He was the first to expound the Copernican system in English but discarded the notion of a fixed shell of immoveable stars to postulate infinitely many stars at varying distances. He was also first to postulate the "dark night sky paradox". Digges married Anne St Leger (1555–1636). In his will he named two surviving sons, Sir Dudley Digges (1583–1639), politician and statesman, and Leonard Digges (1588–1635), poet, and two surviving daughters, Margaret and Ursula. After Digges's death, his widow, Anne, married Thomas Russell of Alderminster in Warwickshire, "whom in 1616 William Shakespeare named as an overseer of his will".>>
--------------------------------------------------------------
https://en.wikipedia.org/wiki/Leonard_Digges_(writer)
. . Will Baker: Knowinge
. . that Mr Mab: was to
. . sende you this Booke
. . of sonets, wch with Spaniards
. . here is accounted of their
. . lope de Vega as in Englande
. . wee sholde of or: Will
. . Shakespeare. I colde not
. . but insert thus much to
. . you, that if you like
. . him not, you muste neuer
. . neuer reade Spanishe Poet
. . . . Leo:Digges

A Hermaphrodite? Lope de Vega and the Controversy of Tragicomedy
Sofie Kluge

In his Tablas poeticas (1617), Francisco de Cascales notoriously called the contemporary Spanish plays hermafroditos and monstruous de la poiesia, indicating that they were neither tragedies nor comedies in the Aristotelian sense, but a mixture of both dramatic genres. Since antiquity, traditional dramatic theory had treated the tragic and the comic separately, largely on thematic grounds (if a play showed persons of high rank, it was a tragedy; if it showed persons of low rank or common people, it was a comedy; if it involved death and suffering, it was a tragedy; if it didn’t it was a comedy). With the rediscovery of Aristotle’s Poetics in the fifteenth century, this view found new, irrefutable evidence. Yet a practice of mixing genres was simultaneously emerging in Spain, witnessing its full bloom with the dramatic production of Lope de Vega, whom Cascales probably had in mind when he coined his famous metaphor. Lope and the dramatists of his “school” (such as Montalban, Luis Velez de Guevera, and Tirso de Molina) were admitting persons of high rank (gods and kings) into plays that otherwise had to be considered comedies, as well as persons of low rank (clowns) into tragedies. Moreover, they mixed the traditional attributes of the characters, creating CHIMERAS, and readily transgressed the so-called Aristotelian doctrine of the dramatic unities.

**************************
Epigram 159 John Davies

To our English Terence, Mr. Will. Shake-speare.
Some say (good Will) which I, in sport, do sing,
*Had’st thou not played some Kingly parts in sport*,
Thou hadst been a companion for a King;
And, been a King among the meaner sort.
Some others rail; but, rail as they think fit,
Thou hast no railing, but a reigning Wit:
And honesty thou sow’st which they do reap;
So, to increase their Stock which they do keep.

*********************
A Hermaphrodite? Lope de Vega and the Controversy of Tragicomedy
Kluge, con’t

The incorporation of the post-Aristotelian phenomenon of tragi-comedy into the traditional system of literary genres represented an obvious problem to contemporary critics and theorists. Although some did meet the dramatic innovations of the period with considerable hostility, the Spanish critics were, in fact, not as hostile to the monstrous hybrids of the native dramatists as Cascales’ words would have us believe, and they were certainly not as hostile as the critics abroad. During the last decade of the sixteenth century and the first decades of the seventeenth, tragicomedy was slowly becoming an accepted part of the poetic system, but simultaneously, the term was gradually being replaced by the term comedia. (...)

I. Aesthetics and Morality in the Golden Age

As I have argued elsewhere, the normativity of Baroque classicism, of which Cascales is usually seen as a protagonist, was an integral part of the period’s profound Platonic-Christian suspicion of “fiction,” which generally emphasized the moral obligation of literature and zealously guarded the virtue of the public (apparently ever in danger of being compromised by the immoral charms of literature). In the seventeenth century, the violation of the classicist rules of poetic composition was not seen as a harmless violation of some manmade system, a “Romantic” impulse of a “Modernist” experiment with inherited poetic forms and stylistic conventions, incomprehensible to conservative contemporary theorist (as some modern scholars will have it), but rather, conceived of as an unnatural, immoral perversion. In this respect, the amazing metaphor of the hermaphrodite is very significant, since it suggests the entwinement of aesthetic and moral aspects in Baroque literary criticism. That Cascales’ metaphor was not just rhetorical, but an expression of a very serious concern for the moral stature of the audience, is confirmed by the numerous clerical attacks on Lope de Vega and his followers. The mingling of aesthetic and moral aspects in the Baroque theatre controversy may on one hand explain why Lope never responded to the theological critique of his work, but only commented on the classicists’ attacks on his stylistic “errors.” He had no need, since these two aspects were essentially two sides of the same critique – and why engage in a dangerous debate with religious fanatics when you can keep to near-sighted intellectuals? On the other hand, it may account for the puzzling generic development of the seventeenth century, when the monstrous term tragicomedy – although certainly an appropriate designation for the majority of serious dramatic works produced in Spain that century – was, for reasons that have still not been satisfactorily explored, gradually replaced by the term comedia. This development was followed by the increasingly emphasized demand that the theater state a moral example and seek to improve the virtue of the spectators. Although the problematic notion of tragicomedy is obviously relevant to the hybrid form of Calderonian drama, it is particularly pertinent to Lope and the early stages of Baroque drama. The real beginning of the great reform of classical drama in Spain, the “reign” of Lope, is particularly intertwined with the problem of tragicomedy.

********************************
Shakespeare:

O! lest the world should task you to recite
What merit lived in me, that you should love
After my death,--dear love, forget me quite,
For you in me can nothing worthy prove.
Unless you would devise some virtuous lie,
To do more for me than mine own desert,
And hang more praise upon deceased I
Than niggard truth would willingly impart:
O! lest your true love may seem false in this
That you for love speak well of me untrue,
My name be buried where my body is,
And live no more to shame nor me nor you.
   For I am shamed by that which I bring forth,
   And so should you, to love things nothing worth.

********************************
A Hermaphrodite? Lope de Vega and the Controversy of Tragicomedy
Kluge, con’t

Why was the mixture of dramatic genres monstous in Lope but admissible in, for example, Calderon? It is true that Lope paved the way for later Golden Age dramatists and that his status as a forerunner of subsequent developments made him more exposed to criticism. But we may also looks for less circumstantial explanations and advance the hypothesis that whereas the amorphous generic mixture of Lope’s dramatic production [note – shreds of forms] – according to the dramatist, the mirror of the original chaotic beauty of nature herself (“Nature gives us a fine example, / for its beauty depends on variety”) – appeared as a sheer natural chaos, the mixture of tragic and comic elements in Calderon seemed to point to the hidden, as yet unrevealed, divine design behind physical and historical reality. In the latter case, the chaos of nature and the hybridity of dramatic form appeared as an allegory of something meaningful, immutable, and eternal behind appearances, not sheer “nature” as an end in itself or as a sole means of delightful entertainment 9”The tragic and the comic mixed,/ and Terence with Seneca, even if it be / another Pasiphae’s Minotaur, / will make one part serious, the other funny,/ for such variety is very pleasing”). In accordance with our assumption of an intimate entwinement of aesthetics and morality in Golden Age literary theory and criticism, we mayu ask: were Lope’s notions of “variety” and “nature,” the justification for the “chaos” of his comedias, ultimately part of a moral worldview, or did they represent a dangerous flirtation with the world of matter, the domain of unbridled variety? As we shall see, there certainly was a difference between “nature” and nature – between nature as part of a greater metaphysical order and nature as an unregulated sphere, breeding in a furious rage of fertility ever more horrible monsters. Although characterized by an undeniable fascination with materiality and hybridity, the Baroque was in fact to an even greater extent dominated by a profound suspicion of nature roaming wild. The problem of tragicomedy is exemplary in this respect. In a period witnessing the bloom of secular drama, the suspicious attitude toward generic hybridity was not entirely unmotivated: the national stage was virtually exploding wiht aesthetic innovations, and contemporary writers and artists were delighting in the exploration of the “monstrous.”

II. The Tragicomic Vogue in the Seventeenth Century

Although Cascales was probably the originator of the fantastic metaphor of the hermaphrodite, he was not the first to a[[;y the adjective monstrous to the Baroque theater. Cervantes had praised Lope’s creative genius with the ambiguous designation “monstruo de la Naturaleza” in his proloch to Ocho comedias (1615), and in the Arte nuevo, Lope himself employed a number of monstrous images to describe his own dramatic innovation (“maquina confusa,” “vil quimera,” “monstruo comico,” “Minotauro,” “hipgrifo,” “”semon,” and “centauro”), on a rhetorical level invoking the fundamental generic hybridity of the comedia (“We disrespect him [Aristotle]/ when we mix tragic diction/ with the modesty of comic baseness”). He even recalled the audiences’s fondness for pants roles (“a breeches role usually pleases Very much”), another phenomenon that playes with generic identity and had repelled Christian aDversaries of the theater since Tertullian. However, unlike the early Cascales of the Tablas (who later changed his mind and praised Lope’s genius), Lope didn’t see generic hybridity as something that compromised the artistic value of his plays, but rather demonstrated a profound fascination with the “artless” nature of his aesthetic creation.

************************************

Cartwright, William, Jonsonus Virbius

...Blest life of Authors, unto whom we owe
Those that we have, and those that we want too:
Th'art all so good, that reading makes thee worse,
And to have writ so well's thine onely curse.
Secure then of thy merit, thou didst hate
That servile base dependance upon fate:
Successe thou ne'r thoughtst vertue, nor that fit,
Which chance, and th'ages fashion did make hit;
Excluding those from life in after-time, 
Who into Po'try first brought luck and rime: 
Who thought the peoples breath good ayre: sty'ld name 
What was but noise; and getting Briefes for fame 
Gathered the many's suffrages, and thence 
Made commendation a benevolence: 
THY thoughts were their owne Lawrell, and did win
That best applause of being crown'd within..


********************************

Jonson P R O L O G U E. Every Man In His Humour

Thou Need make many Poets, and some such
As Art and Nature have not better'd much;
Yet ours, for want, hath not so lov'd the Stage,
As he dare serve th'ill Customs of the Age,
Or purchase your delight at such a rate,
As, for it, he himself must justly hate:
To make a child now swadled, to proceed
Man, and then shoot up in one beard and weed,
Past threescore years: or, with three rusty swords,
And help of some few foot-and-half-foot words,
Fight over York, and Lancasters long jars,
*And in the Tyring house bring wounds to scars.*
He rather prays, you will be pleas'd to see
One such to day, as other plays should be;
Where neither Chorus wafts you o're the seas,
Nor creaking Throne comes down, the boys to please;
Nor nimble Squib is seen, to make afeard
The Gentlewomen; nor roul'd Bullet heard
To say, it Thunders; nor tempestuous Drum
Rumbles, to tell you when the Storm doth come;
But Deeds, and Language, such as men do use:
And Persons, such as Comœdy would chuse,
When she would shew an Image of the Times,
And sport with Humane Follies, not with Crimes.
Except, we make 'em such by loving still
Our popular Errors, when we know th' are ill.
I mean such Errors as you'll all confess
By laughing at them, they deserve no less:
Which when you heartily do, there's hope left, then,
You, that have so grac'd MONSTERS, may like Men.

*********************************
Jonson, Dedication to Cynthia's Revels:
TO THE SPECIAL FOUNTAIN of MANNERS,
The Court.

Hou art a Bountiful and Brave Spring, and waterest all the Noble Plants of this Island. In thee thewhole Kingdom dresseth it self, and is ambitious to use thee as her Glass. Beware then thou render Mens Figures truly, and teach them no less to hate their Deformities, than to love their Forms: For, to Grace, there should come Reverence; and no Man can call that Lovely, which is not also Venerable. It is not Powd'ring, Perfuming, and every day smelling of the Taylor, that converteth to a Beautiful Object: but a Mind shining through any Sute, which needs no False Light, either of Riches or Honours, to help it...

********************************
Jenny C. Mann in 'Outlaw Rhetoric' discusses soraismus as a form of linguistic abuse, quoting from Quintilian's Institutio oratoria:

There is also what is called Sardismos, a style made up of a mixture of several kinds of language, for example a confusion of Attick with Doric, Aeolic with Ionic. We Romans commit a similar fault, if we combine the sublime with the mean, the ancient with the modern, the poetic with the vulgar, for this produces a monster like the one Horace invents at the beginning of the Ars Poetica:

Suppose a painter chose to put together
a man's head and a horse's neck,
and then added other limbs from different creatures.


She continues...'Only by preserving a pure Roman expression uncontaminated by dialect forms can one avoid producing a monstrous style made up of "limbs from different creatures, " added to a man's head on a horse's neck. Quintilian thus turns the centaur and other monsters into tropes for language unrestrained by proper boundaries. (Jenny C. Mann, Outlaw Rhetoric)

************************************
Jonson - Timber
{Topic 67}} {{Subject: AFFECTED language}}

DE VERE ARGUTIS. - I do hear them say often some men are not witty, because they are not everywhere witty; than which nothing is more foolish. If an eye or a nose be an excellent part in the face, therefore be all eye or nose! I think the eyebrow, the forehead, the cheek, chin, lip, or any part else are as necessary and natural in the place. But now nothing is good that is natural; right and natural language seems to have least of the wit in it; that which is writhed and tortured is counted the more exquisite. Cloth of bodkin or tissue must be embroidered; as if no face were fair that were not powdered or painted! no beauty to be had but in WRESTING and WRITHING our own tongue! Nothing is fashionable till it be DEFORMED; and this is to write like a gentleman. All must be affected and preposterous as our gallants' clothes, sweet-bags, and night-dressings, in which you would think our men lay in, like LADIES, it is so curious. 

***************************************
Shakespeare

Alas, 'tis true I have gone here and there
And made myself a motley to the view,
Gor'd mine own thoughts, sold cheap what is most dear,
Made old offences of affections new.
Most true it is that I have look'd on truth
Askance and strangely: but, by all above,
These blenches gave my heart another youth,
And worse essays prov'd thee my best of love.

**************************************

Jonson, ‘On Poet-Ape,’ Epigrams (1616), No 56.:
Poor Poet Ape, that would be thought our chief,
Whose works are e’en the FRIPPERY of WIT,
From Brokage is become so bold a thief
As we, the robbed, leave rage and pity it.
At first he made low shifts, would pick and glean,
Buy the reversion of old plays, now grown
To a little wealth, and credit on the scene,
He takes up all, makes each man’s wit his own,
And told of this, he slights it. Tut, such crimes
The sluggish, gaping auditor devours;
He marks not whose ‘twas first, and aftertimes
May judge it to be his, as well as ours.
Fool! as if half-eyes will not know a fleece
From locks of wool, or SHREDS from the whole piece.

**************************************
Outlaw Rhetoric, Jenny C. Mann (con't.)

Puttenham's English term for soraismus, the "mingle mangle," aptly expresses the problematic of neologizing: the borrowing of foreign words enriches the English vernacular while also alienating that vernacular from itself. Earlier English rhetorics also describe soraismus as a linguistic "mingling": Richard Sherry defines the figure as "a mynglyng and heapyng together of wordes of diverse languages into one speche," and Henry Peacham likewise describes the figure as "a mingling together of divers Languages." Puttenham's English term further identifies the figure's  "heapyng" and "mingling" as a "mangling," a mixture that is also a mutilation or a disfigurement. The term "mingle mangle" also showcases English's unique ability to make compound words, what Sidney calls "happy...compositions of two or three words together." Peacham's Garden of Eloquence (1577) acknowledges the potential specificity of the figure to the English vernacular, observing that "some think wee speake but little English, and that our speech is for the most parte borrowed of other languages, but chiefely of the Latine, as to the Learned it is well knowne." This reference to how "some" might disparage the English vernacular as a mingled tongue indicated how linguistic mixing registers as a kind of disfigurement perpetuated by the English language in particular. It also suggests that soraismusc ould be construed as a figure for the mixed English vocabulary.

In fact, many sixteenth-century complaints about the growing impurity of the English vernacular draw on the language of the English soraismus. Sir John Cheke advocated the preservation of the vernacular from the "mingle mangle," explaining in a preface to Sir Thomas Hoby's translation of Castiglione's Courtier (1561) that "I am of this opinion that our own tung shold be written cleane and pure, unmixt and unmangled with borrowing of other tunges, wherein if we take not heed bi time, ever borowing and never paying, she shall be fain to keep her house as bankrupt." Ralph Lever's The Art of Reason (1573) criticizes those who "with inckhorne termes doe change and corrupt the [mother tongue] making a mingle-mangle of their native speache," while the preface to Edmund Spenser's Shepheardes Calendar (1579) similarly complains that writers who patch up "the holes [in our mother tongue] with peces and rags of other languages...have made our English tongue a gallimaufry or hodgepodge of al other speeches." Such comments often analogize a mingled English vocabulary to a mangled English nation, as we can see in the prologue to John Lyly's Midas (1592), which adopts the terms "mingle mangle" to deride the mixture of the native and the foreign in the English nation. The prologue explains that "Trafficke and travell hath woven the nature of all Nations into ours and made this land like a Arras, full of devise, which was Broadecloth...Time hath confounded our mindes, our mindes the matter; but all commeth to this passe, that what heretofore hath been  served in severall dishes for a feast, is not minced in a charger for a Gallimaufrey. If wee present a mingle-mangle, our fault is to be excused, for the whole worlde is become a Hodge-podge." These passages liken the mingled stock of the English vernacular to a bankrupt borrower in debt to foreign tongues, a plain garment patched with foreign fabric, and a mishmash of food served in a single dish. Such formulations identify the English vernacular - and in Lyly's case, the nation and even  the "whole worlde" - as soraismus, or the "mingle mangle."

*******************************

The New Art of Writing Plays
BY

LOPE DE VEGA

TRANSLATED BY

WILLIAM T. BREWSTER

THE NEW ART OF MAKING PLAYS
IN THIS AGE

Addressed to the Academy at Madrid.

1. You command me, noble spirits, flow-
er of Spain, who in this congress and re-
nowned academy will in short space of time
surpass not only the assemblies of Italy
which Cicero, envious of Greece, made fa-
mous with his own name, hard by the Lake
of Avernus, but also Athens where in the
Lyceum of Plato was seen high conclave of
philosophers, to write you an art of the
play which is today acceptable to the taste of
the crowd.

2. Easy seems this subject, and easy it
would be for anyone of you who had written
very few comedies, and who knows more 
out the art of writing them and of all these
things; for what condemns me in this task is
that I have written them without art.

3. Not because I was ignorant of the pre-
cepts; thank God, even while I was a tyro in
grammar, I went through the books which
treated the subject, before I had seen the sun
run its course ten times from the Ram to the
Fishes;

4. But because, in fine, I found that com-
edies were not at that time, in Spain, as their
first devisers in the world thought that they
should be written; but rather as many rude
fellows managed them, who confirmed the
crowd in its own crudeness; and so they were
introduced in such wise that he who now
writes them artistically dies without fame
and guerdon; for custom can do more
among those who lack light of art than reason and force.
5. True it is that I have sometimes writ-
ten in accordance with the art which few
know; but, no sooner do I see coming from
some other source the monstrosities full of
painted scenes where the crowd congregates
and the women who canonize this sad busi-
ness, than I return to that same barbarous
habit; and when I have to write a comedy I
lock in the precepts with six keys, I banish
Terence and Plautus from my study that they
may not cry out at me; for truth, even in
dumb books, is wont to call aloud; and I
write in accordance with that art which they
devised who aspired to the applause of the
crowd; for, since the crowd pays for the
comedies, it is fitting to talk foolishly to it to
satisfy its taste.
*********************************

Shakespeare's
O, for my sake do you with fortune chide,
The guilty goddess of my harmful deeds,
That did not better for my life provide,
Than public means which public manners breeds.
Thence comes it that my name receives a brand,
And almost thence my nature is subdu’d
To what it works in, like the dyer’s hand:
Pity me then and wish I were renew’d;
Whilst, like a willing patient, I will drink
Potions of eysell, ‘gainst my strong infection;
No bitterness that I will bitter think,
Nor double penance, to correct correction.
Pity me then, dear friend, and I assure ye
Even that your pity is enough to cure me. 

*******************************
Sidney's Womanish Man
Mark Rose

Idleness was understood to be the first shaft that 'Cupide shootethinto the hot liver of a heedlesse lover', so in desiring to give in to idleness the prince is only proving true to type. Distaff Hercules was the conventional image for just such a condition of effeminate idleness induced by passionate love. The distaff itself was an old symbol of idleness, and Sidney would have read in Amyot's Plutarch:

...that men given to idle luxury are like Hercules 'au palais royal de la royne de Lydie Omphale, vestu d'une cotte de demoiselle, se laissant souffletter & tresser aux filles & femmes de la Royne'.

'WIL you handle the spindle with Hercules, *when you should SHAKE the SPEARE with Achilles?*" asks a character in Lyly's Campaspe. Barnaby Rich states that lascivious women have made 'valiant men effeminate, as Hercules'. And Robert Burton uses 'Herculean Love' as an uncomplimentary epithet for passionate love. Sidney's own contempt for distaff Hercules is clear from the Defence of Poesie:

So in Hercules, painted with his great beard, and furious countenance, in a womans attire, spinning, at Omphales commaundement, it breedes both delight and laughter; for the representing of so straunge a power in Love, procures delight, and the scornefulness of the action, stirreth laughter. (iii. 40)


************************************

Moffett's _Nobilis_ or_ A View of the Life and Death of a Sidney_,

dedicated to WILLIAM HERBERT: Jan 1594 (?)

"A few, to be sure, were observed to murmur, and to envy him so great preferment; but they were men without worth or virtue, who considered the public welfare a matter of indifference- fitter, in truth, to hold a DISTAFF and CARD WOOL AMONG SERVANT GIRLS than at any time to be considered as RIVALS by Sidney. For no one ever wished ill to the honor of the Sidney's except him who wished ill to the commonwealth; no one ever for forsook Philip except him whom the hope that he might at some time be honourable had also forsaken; and no one ever injured him except him for whom virtue and piety had no love. He was never so incensed, however, by the wrongs of malignant or slanderous men but that at the slightest sign of penitence the heat of his disturbed spirit would die down, and he would bury all past offenses under a kind of everlasting OBLIVION. (p.82 Nobilis (The Noble Man), Moffett)