Arthur Neuendorffer
2021-06-01 03:18:01 UTC
--------------------------------------------------------------
<<While browsing through the book, 'Secret Diplomacy,
Expionage & Cryptography 1500-1815,' BALLANTINE learned that
authors of Greek tragedies traditionally constructed their
plays 'so that the first 8 iambic lines made 4 connected
anagrams. *The first Two lines gave the name of the author*'>>
.............................................................
________ *The Two Gentlemen of VEROna*
.
VALENTINE: CEease to perswade, my louing Protheus;
. HOME-keeping youth, haue *{EU}ER HO{M}ELY WIT{S}*
....................................................
. . . *{EU}ER HO{M}ELY WIT{S}*
.....................................
. . . . . . . . . {M}
. . . . . . . . . {U}
. .*W R I O T H E {S} L E Y*
. . . . . . . . . {E}
----------------------------------------------------------
Terry Ross wrote: <<The emblematic device at the head
. of the [*MINERVA* Britanna] title page with its motto:
........................................................
. . "{UT} *CANDLE* [A]LIJ[S],
. . .ME C[ONS]U *CANDLE* [M]O"
. ("as you burn I consume myself") and
. its picture of two lighted *CANDLES*.>>
.
Loading Image...
...............................................
. . <= 4 =>
.
. [M] .O {U T}
. [A] .L .I J
. [S] .M .E C
. [O. N S] .U
.......................................................
<<The (U)nfortunate (T)raveller (1594) by Thomas Nashe
is a picaresque novel about Jack Wilton's adventures
through the European continent in which he finds himself
swept up in the currents of 16th-century history.>>
-----------------------------------------------
. . . . <= 3 x 7 =>
.
. {U}(P O N) t h e L i n e s a n d L i f e o f
. {T}(H E) F a m o u s S c e n i c k e P o e t
.
. [M A S T E R] W I L L I A M S H A K E S P E
. [A] R E T h o s e h a n d s w h i c h y o u
. [S] O c l a p t g o n o w a n d w r i n g Y
. [O] u B r i t a i n e s b r a v e f o r d o
. [N] e a r e S h a k e s p e a r e s d a y e
. [S]
.
[MASONS] 21 : Prob. at start of poem ~ 1 in 9460
------------------------------------------------------
. . {U|PON) the Lines and Life of {T|HE) Famous
. . . . . Scenic Poet, [MASTER] William
. . . . . . . . .Shakespe[A]re.
.
. Those hands, which you [S]O clapt, go now, and wring
. Y[O]u Britaines brave; for do[N]e are Shakespeares daye[S]:
.
. His dayes are done, that made the dainty Playes,
. Which made the Globe of heav'n and earth to ring.
. Dry'de is that veine, dry'd is the Thespian Spring,
. Turn'd all to teares, and Phoebus clouds his rayes:
. That corp's, that coffin now besticke those bayes,
. Which crown'd him {POET} first, t[H]en {PO[E]TS} Ki[N]g.
. If T[R]aged[IES] migh{T} any P{R}olog{U}e hav{E},
. All t[H]ose h[E] made, [W]ould [S]cars(E) make (O)ne to this:
. Where Fame, now that he gone is to the grave
. (Deaths publique tyring-house) the Nuncius is.
. . For though his line of life went soone about,
. . The life yet of his lines shall never out.
.
. . . . . . . . . . . Hugh Holland
...............................................
... <= 5 =>
.
. {P. O. E. T} f
.. i. r. s. t, t
. [H] e. n {P. O
. [E] T S}. K. i
. [N] g. I. f. T
. [R] a. g. e. d
. [I. E. S] m. i
.. g. h {T} a. n
.. y. P {R} o. l
.. o. g {U} e. h
.. a. v {E} A. l
.. l. t [H] o. s
.. e. h [E] m. a
.. d. e,[W] o. u
.. l. d [S] c. a
.. r. s (E) m. a
.. k. e (O) n. e
..........................................
[HENRI/ES] 5 : Prob. in poem ~ 1 in 8,000
{TRUE} 5 : Prob. in poem ~ 1 in 28
[HEWS] 5 : Prob. in poem ~ 1 in 25
----------------------------------------------
. [ALL FOR ONE] : [TOUT PAR UNG]
...............................................
https://tinyurl.com/yczlkh29
“The {TWO} Most Noble [HENRI/ES]”
– [He]nry de [VERE] & Henry Wriothesley –
89th Reason why the 17th Earl of Oxford was “Shakespeare”
..................................................................
https://en.wikipedia.org/wiki/Henry_de_Vere,_18th_Earl_of_Oxford
[He.] de [VERE], 18th Earl of Oxford KB (24 Feb. 1593 – June 1625)
Henry Wriothesley, 3rd Earl of Southampton (6 Oct. 1573 – 10 Nov. 1624)
-----------------------------------------------------------------
........... Sonnet 19
.
. Make glad and sorry seasons as thou fleet'st,
. And do what ere (t)hou wil[T (S)WIFT]-foo(t)ed time
. T(o) the wi{D}e (w)orld and [{A}LL] her fadi{N}g sweets:
. Bu{T} I [FOR]bid th{E}e [ONE] most h{A}inous crime,
.
. O car{U}ue not wi{T|H] thy ho{W|e]rs my l{O|V]es fair[E] brow,
. No[R] draw no[E] lines there with thine antique pen,
. Him in thy course vntainted doe allow,
. For beauties patterne to succeding men.
.
. Yet doe thy worst ould Time dispight thy wrong,
. My love shall in my verse *EVER (liv)E YOUNG*.
.............................................
. . . . <= 7 =>
.
.. O c a r {U} e. n
.. o t w i {T}[H] t
.. h y h o {W}[e] r
.. s m y l {O}[V] e
.. s f a i. r [E] b
.. r o w,N. o [R] d
.. r a w n. o [E] l
.. i n e s. t. h. e
.. r e
.
[He.VERE] 7
.................................
. . . . . <= 10 =>
.
...... A. n. d. d. o. w h. a t
... e. r. e (t) h. o. u w. i l
.. [T (S) W. I. F. T] f o. o(t)
... e. d. t. i. m. e. T(o) t h.
... e. w. i {D} e (w) o r. l d.
... a. n. d [A} L. L] h e. r f
... a. d. i {N} g. s. w e. e t
... s: B. u {T} I [F. O R] b i
... d. t. h {E} e [O. N E] m o
... s. t. h {A} i. n. o u. s c
... r. i. m. e,
.
{DANTE A.} 10
------------------------------------------------------------------
https://en.wikipedia.org/wiki/Saint_Lucy
<<[LUCIA] of Syracuse (283–304), also known as Saint Lucy is patron
saint of the blind, *AUTHORS*, cutlers, glaziers, laborers, & *PEASANTS*.
[LUCIA] appears in {DANTE A}lighieri's Inferno Canto II as the messenger
sent to Beatrice from the Virgin Mary, to rouse Beatrice to send Virgil to
{DANTE}'s aid. In the Purgatorio 9:52–63, Lucy carries the sleeping {DANTE}
to the entrance to Purgatory. Then in Paradiso *32* {DANTE} places her
opposite Adam within the *MYSTIC ROSE* in Canto *32* of the Paradiso.>>
-------------------------------------------------------------
. . . . . Sonnet 8
.
. MVsick to heare, why hear'st thou musick sadly,
. Sweets with sweets warre not , ioy de{LIGHTS} in ioy:
. Why lou'st thou that which thou receaust not g[L]adly,
. Or else receau'st with pleas[U]re thine annoy ?
. If the true con[C]ord of well tuned sounds,
. By vn[I]ons married do offend thine e[A]re,
. They do but sweetly chide thee , who confounds
. In singlenesse the parts that thou should'st beare:
......................................................
................................. <= 25 =>
.
. M V s i c k t o h e a r e,w h y. h. e .a r's t. t h o
. u m u s i c k s a d l y,S w e e. t (S) w i t h. s w e
. e t s w a r r e n o t,i o y d e {L. I .G H T S} i n i
. o y:W h y l o u's t t h o u t h. a (T) w h i c. h t h
. o u r e c e a u s t n o t g l a. d [L] y,O r e. l s e
. r e c e a u's t w i t h p l e a. s [U] r e t h. i n e
. a n n o y?I f t h e t r u e c o. n [C] o r d o. f w e
. l l t u n e d s o u n d s,B y v. n [I] o n s m. a r r
. i e d d o o f f e n d t h i n e. e [A] r e,
.
[LUCIA] 25
----------------------------------------------------------
...... Hamlet (1604 Quarto2) : III, ii
.
Polonius: {LIGHTS}, {LIGHTS}, {LIGHTS}. Exeunt all but Ham. & Horatio.
....................................................
....... Hamlet (1623 Folio) : III, ii
.
All. {LIGHTS}, {LIGHTS}, {LIGHTS}. Exeunt
----------------------------------------------------------
. . . . . . Sonnet 72
.
.. Vnles{S}e you would deuise some ver{T}uous lye,
.. To doe more for me t{H}en mine owne desert,
.. And han{G} more praise vpon deceased {I},
.. Then nigard truth would wi{L}lingly impart:
.
.. O least your true loue may seeme falce in this,
.. That you for loue speake well of me vntrue,
. *My name be buried where my body is*,
.. And liue no more to shame nor me, nor you.
......................................................
. . . . . <= 23 =>
.
. V n l e s {S} e y o u w o u l d d e u i s e s o
. m e v e r {T} u o u s l y e,T o d o e m o r e f
. o r m e t {H} e n m i n e o w n e d e s e r t,A
. n d h a n {G} m o r e p r a i s e v p o n d e c
. e a s e d {I},T h e n n i g a r d t r u t h w o
. u l d w i {L} l i n g l y i m p a r t:
.
{LIGHTS} -23: Prob. any Sonnet quatrain ~ 1 in 60
----------------------------------------------------------
.......... Sonnet 76
.
. For as the *SUN* is daily new and old,
. So is my loue still te{L}l{I}n{G} w{H}a{T} i{S} told,
{LIGHTS} 2: Prob. in last couplet ~ 1 in 197,000
-----------------------------------------------------
. THE SKETCH BOOK OF GEOFFREY CRAYON, GENT.
THE SPECTRE BRIDEGROOM. A *TRAVELLER’S* TALE.*
By Washington Irving [https://tinyurl.com/y9nodvn5]
.......................................................
.......................................................
The drawbridge had been let down, and the {STRANGER} was before the gate. He was a tall, gallant cavalier, mounted on a black steed. His countenance was pale, but he had a beaming, romantic eye, and an air of stately melancholy. The baron was a little mortified that he should have come in this simple, solitary style. His dignity for a moment was ruffled, and he felt disposed to consider it a want of proper respect for the important occasion, and the important family with which he was to be connected.
. He pacified himself, however, with the conclusion,
. that it must have been youthful impatience which ha[D]
. induced him thus to spur on sooner than his [A]ttendants.
.... “I am sorry,” said the {STRANGER},
.. “to b[R]eak in upon you thus unseasonably-”
Here the [B]aron interrupted him with a world of compl[I]ments
and greetings; for, *to tell the truth*, h[E] prided himself
upon his courtesy and eloq{U}ence. The {STRANGER} attempted,
once or twice, {T}o stem the torrent of words, but in vain,
so he bowed his head and suffered it to flow on.
.............................................
. . <= 36 =>
.
. itm. u. sthaveb. eenyouth. fulimpati. encewhic
. hha [D] induced. himthust. ospuronso. onerthan
. his [A] ttendan. tsIamsor. rysaidthe {STRANGER}
. tob [R] eakinup. onyouthu. sunseason. ablyHere
. the [B] aronint. errupted. himwithaw. orldofco
. mpl [I] mentsan. dgreetin. gsfortote. llthetru
. thh [E] pridedh. imselfup. onhiscour. tesyande
. loq {U} enceThe {STRANGER} attempted. onceortw
. ice {T} ostemth. etorrent. ofwords
.
[DARBIE {UT}] 36 : Lord {STRANGE} : Traveler
.......................................................
.......................................................
The dismay at the castle may well be imagined. The baron
shut himself up in his chamber. The guests, who had come to
re{J}oice {W}ith h{I}m, cou{L}d not {T}hink {O}f aba{N}doning
him in his distress. They wandered about the courts or collected
in groups in the hall, SHAKing their heads and shrugging their
shoulders at the troubles of so good a man, and sat longer
than ever at table, and ate and drank more stoutly than
ever, by way of keeping up their spirits.
.
{J.WILTON} 5 : Prob. in _A *TRAVELLER’S* TALE_ ~ 1 in 25,000
-------------------------------------------------------------
. . . . The Tempest Act IV, scene I
.
Caliban:
. The drops{I}e drode{W}ne th{I}s foo{L}e, wha{T} doe y{O}u (mea{N}e
. To doate thus on such luggage? let's alone
. And doe the murther first: if he awake,
. From toe to crowne hee'l fill our skins with pinches,
. Make vs {STRANGE} stuffe.
.
{I.WILTON} 5 : Prob. in a line of the Tempest ~ 1 in 7,500
.......................................................
<<The (U)nfortunate (T)raveller (1594) by Thomas Nashe
is a *picaresque novel* about {I}ack {WILTON}'s adventures
through the European continent in which he finds himself
swept up in the currents of 16th-century history.>>
----------------------------------------------------------
Shakespeare Oxford Newsletter Vol. 51, No. 3: Summer 2015
- by Mark Stahley, St Paul MN
......................................................
<<I tried putting [the 144 dedication letters]
in a 12x12 square. The letters "ORIW" going down
caught my eye... and I realized you could unscramble
them to spell the name "H. Wriotheslie, SH"
("SH" for Southampton, perhaps). In the grid
below, you can see the contiguous letters:
"TO {WRIOTHESL(ie)}" .>>
.........................................
....... <= 12x12 SQUARE =>
.
. . 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. I. N. G {F} O. R T H
.........................................
- _The De Vere Code_ by Jonathan Bond
.......................................
[VOTIS] : to *VOW* or *PROMISE*
{PARE/O} : to appear, be visible
.
{MNEME} : (Μνήμη) muse of *MEMORY* Prob. ~ 1 in 45,000
.
TO {WRIOTHESL(y)} : Prob. ~ 1 in 4000
. [NE{V}IL{L}E] : Prob. ~ 1 in 2100
.
{PARE} : Ovid's _Fasti_ 3
PAR/PARIS : a companion, comrade, mate
-------------------------------------------------------
. Antony and Cleopatra Act 5, Scene 2
.
CLEOPATRA: Shall they hoist me up
. And show me to the shouting varletry
. Of censuring Rome? Rather a ditch in Egypt
. Be gentle grave unto me! rather on *NILUS' mud*
. Lay me stark naked, and let the water-flies
. Blow me into abhorring! rather make
. My country's high PYRAMIDES my *GIBBET*,
. And HANG me up *IN CHAINS* !
..................................................................
*GIBBET*, n. [OE. gibet, F. gibet, in OF. also club, fr. LL.
gibetum; cf. OF. gibe sort of sickle or hook, It. giubbetto gibbet,
and giubbetta, dim. of giubba mane, also, an under waistcoat,
doublet, Prov. It. gibba); so that it perhaps originally signified
a halter, a rope round the neck of malefactors; or it is,
perhaps, derived fr. L. gibbus HUNCHED, HUMPED,
E. gibbous; or cf. E. jib a sail.] 1. A kind of gallows;
an upright post with an arm projecting from the top,
on which, formerly, malefactors were hanged *IN CHAINS* ,
and their bodies allowed to remain as a warning.
--------------------------------------------------------
. . . . . . . . . . . . . <= 16 x 9 =>
.
__________________ 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 U 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 U R E V E R l(I)V I(N)G P
__________________ O. E T W I S H E T H T(H)E W(E)L
__________________ L |W]I S H I N G A D V E n T U(R)
__________________ E |r]I N S E T T I N G{f o r}T H
......................................................
T 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| .U 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] U(R) e V E R L
I V I(N) G P O E T [W|I] S H(E) t H T H
E W(E) L L W I S H [I] N G A(d V e) N T
U(R) E R I N S E T [T] I N G{f o r} T H
.
. . . . . . . <= 18 x 9 =>
--------------------------------------------------
http://www.philological.bham.ac.uk/anagrams/
.
<<Even more curious is the one for Southampton,
which explicitly states that he had been convicted
of treason on false testimony inspired by envy.>>
.............................................
. HENRICUS URIOTHESLEUS
_____ per anagramma
. *THESEUS* NIL REUS HIC RUO
.
.. [I] ure quidem poteras hanc fundere ab ore querelam,
.. [S] ors tibi dum ficto crimine dura fuit:
. "[N] il reus en Theseus censura sortis iniquae
.. [H] ic ruo, livoris traditus arbitrio."
.. [A] t nunc mutanda ob mutata pericla querela est.
.. [I] nclite, an innocuo pectore teste rues?
.. [N] on sane. Hac haeres vacuo dat *VIVERE* cura,
.. [C] ollati imperii sub Iove sceptra gerens.
.............................................
. *ISNHAINC* {anagram} *IN CHAINS*
.
. . *Victorious though IN CHAINS* )
.............................................
. HENRY WRIOTHESLEY by an anagram
. ('HERE I FALL, *THESEUS, GUILTY OF NOTHING* ')
.
Justly you were able to pour forth this complaint from
your mouth, your lot was harsh while a false accusation
prevailed. 'L.O. , Theseus is guilty of NOTHING , *HERE*
I fall by an unfair lot's censure, betrayed by ENVY's whim.'
But now the complaint is to be altered, because of
altered perils. Great man, do you take a fall
with an innocent heart bearing witness? Not at all.
The HEIR, wielding the scepter of rule conferred
under Jove's auspices, grants you to live free of this
.............................................
http://www.philological.bham.ac.uk/anagrams/text.html
-----------------------------------------------------------------
Plutarch's Lives Volume I : http://www.stoics.com/plutarch_1.html
. Translated out of Greek into French by James Amyot,
. Abbot of Bellozane, Bishop of Auxerre,
. and out of French into Englishe by *THOMAS NORTH*
.
<<The greatest and most solemne sacrifice they doe unto
[*THESEUS*] is on the *eight daye of October*, in which he return-
. THESEVS ed from CRETA, with the other younge children of ATHENS:
-----------------------------------------------------------------
*eight daye of October*, 1600 A Midsummer Night's Dream entered
. on Stationers' Register.
..............................................................
. THOMA(s) SNOUT
. SOUTHAM(p)TON
..........................................................
https://en.wikipedia.org/wiki/Tom_Snout
.
<<[THOMA(s) SNOUT] is a character in William Shakespeare's A Midsummer Night's
Dream. He is a tinker, and one of the "mechanicals" of Athens, amateur players
in Pyramus and Thisbe. Tom Snout was originally set to play Pyramus's father,
but the need for a wall was greater, so he discharged The Wall which separates
Pyramus' and Thisbe's gardens. In Pyramus and Thisbe, the two lovers whisper
to each other through SNOUT's fingers (representing a gap in the wall).
Snout has eight lines under the name of TOM SNOUT, and
two lines as The Wall. He is the Wall for Act V-Scene 1.
..................................................................
Wall: Thus have I Wall, my part discharged so;
. And being done, thus Wall away doth go.
..............................................................
. This man, with lyme and rough-cast, doth present
. Wall, that vile wall, which did these louers sunder:
. And through walls chink (poor soules) they are content
. To [W.H.]isper. At the which, let *no man* wonder.
--------------------------------------------------------
.. T O T H E R I G H T H O N O R A B L E
. Henrie Wriothesley, Earle of Southampton,
. and Baron of Titchfield.
. RIght Honourable, I know not how I shall offend in
. dedicating my unpolisht lines to your Lordship, nor
. how the worlde Will censure mee for choosing so
. strong a proppe to support so Weake a burthen,
. onelye if your Honour seeme but pleased, I ac-
. count my selfe highly praised,
. and *VOWE* to take advantage of all idle houres,
TILL I [H]AV[E] HO[N]OU[R]ED [Y]OU [W.]IT[H.] SO[M]E G[r.]
........... . . . . . . . . . . . -AVER LABOUR.
[HENRY W.H. Mr.] 3 : Prob. [HENRY W.] in V&A dedication ~ 1 in 36,000
.....................................................................
AVER, n. [OF. AVER domestic animal, whence LL. AVERia, pl.
cattle. cf. {AVERage}.] A WORKING OX. [Obs. or Dial. Eng.]
..............................................................
. Moby Dick by Herman Melville: Chapter 103
. Measurement of The Whale's Skeleton
. The largest, a middle one, is in width somet[H]ing less than
. three fe[E]t, and in depth more tha[N] four. The smallest,
. whe[R]e the spine tapers awa[Y] into the tail, is only t[W]o
. inches in width, and looks something like a white billiard-ball.
.............................................................
[HENRY W.] 19 : shortest skip in Moby Dick or KJV.
-----------------------------------------------------------
. B.O.T. (Baron of Titchfield)
. E.S. (Earl of Southampton)
. W. (Wriothesley)
-----------------------------------------------------------
THE TEMPEST. Actus primus, Scena prima.
A tempestuous noise of Thunder and Lightning heard:
Enter a Ship-master, and a [BOTESW]aine.
.........................................................
. B.O.T.E.S.W.("aine" : "harmony" [Scottish] )
.
(B)aron (O)f (T)itchfield/(E)arl (S)outhampton/(W)riothesley
.........................................................
Master. [BOTESW]aine.
[BOTES]: Heere Master: What cheere?
--------------------------------------------------------
. (B)aron (O)f (T)itchfield/[H]enry [W]riothesley
.......................................................
. (T)his Figure, that thou here seest put,
..... It was for gentle Shakespeare cut,
... [W]herein the Graver had a strife
..... with Nature, to out-doo the life :
. (O), could he but have drawne his wit
..... As well in brasse, as he hath hit
... [H]is face ; the Print would then surpas[SE]
..... All, that was *EVER WRIT* in bras[SE].
. (B)ut, since he cannot, Reader, looke
..... Not on his Picture, but his Booke.
.........................................................
"In Vinculus Invictus" Motto in Tower Painting:
.
. https://tinyurl.com/zpa7rug
. https://tinyurl.com/gnj9385
.
DROESHOUT/HERODOTUS = "In Vinculus Invictus" Painting:
.
. 1) Large forehead
. 2) all seeing left eye
. 3) 14 buttons
. 4) eyebrows
. 5) nose
. 6) moustache
. 7) lips
.
Loading Image...
----------------------------------------------------------------
. (T)his F(I)gure, that thou here (S)eest put,
.. It w(A)s (F)or g{E}ntle Shakes(P)e(A)re c{UT},
. [W]herein th(E) G(R)ave{R H}ad a strife
.. with Na{TURE}, to out-doo the life :
.........................................................
........... <= 17 =>
.
. (T) h. i s F (I) .g u. r e,t h a t t h. o
.. u. h. e r e (S) .e e. s t p u t,I t w (A)
.. s (F) o r g {E} .n t. l e S h a k e s (P)
.. e (A) r e c {U T} [W] h e r e i n t h (E)
.. G (R) a v e {R H}. a. d a s t r i f e. w
.. i (T) h N a {T U R E},t o o u t-d o o. t
.. h. e. l i f. e:
........................................
{TRUE} -17 : Prob. in first Q. ~ 1 in 53
...................................................
. (O), coul(D) he but <H>a{V|E) drawn<E> h{I|S) wit
.. As <W>el{L} in bra<S>s{E}, as he hath <H>it
. [H]is fac<E> ; the Print <W>ould then <S>urpasse
. *ALL*, that was *EVER WRIT* in brasse.
. (B)ut, since he cannot, Reader, looke
.. Not on his Picture, but his Booke.
...................................................
....... . <= 9 =>
.
. (O) c. o. u. l. (D) h e. b
.. u. t <H> a {V} (E) d r. a
.. w. n <E> h {I} (S) w i. t
.. A. s <W> e {L} .l. i n. b
.. r. a <S> s {E} .a. s h (E)
.. h. a. t. h <H> .i. t[H](I)
.. s. f. a. c <E>; t. h e (P)
.. r. i. n. t <W> .o. u l. d
.. t. h. e. n <S> .u. r p. a
.. s. s. e *A. L. .L*
....................................
<HEWS> 9,9 : Prob. of both with same skip ~ 1 in 4,000
........................................................
"A man in hew *ALL* <HEWS> in his controwling"
.......................................................
. [H] [W] : [H]enry [W]riothesley
. <E> <S> : <E>arl of <S>outhampton
-----------------------------------------------------------
Dave Roper: "{SO TEST} Him, *I UOW* He Is Edward De Uere"
.............................................................
_______________ . . <= 34 =>
. T E R. R. A. T E .. [G] .I T,PO. PULUSMÆRE ______... TO. LY MPUSHABE. T
.........................................................................
. S T A. Y. P. A S .. [S] .E N GE. RWHYGOEST _ _ _ _ . TH. OV BYSOFAST. R
. E A D. I. F. T . (H)[O] .V C AN. STWHOM _ [E] .[N] .VIO. VS DEATHHAT. H
.*P L A <S> T* W . (I){T} <H{I}NT> HISMON _ [U] (M)[E] NT *SH AKSPEARE* W
. I T H <W> H. O . (M){E} .Q{U}IC. KNATVR _ [E D] (I)[D]E *WH OSENAMED* O
. T H D <E> C. K Y... {S} .T{O}MB. EFARMO _ [R E] t (H) E. NC OSTSIEHA. L
. L Y T <H> E. H A-.. {T} .H{W}RI. TTLEAV _ [E]S. L. I. V. IN GARTBVTP. A
. G E T. O. S. E R.... V. .E H IS. WITT
.......................................................
[EUERE][DE] 34
{SO TEST}.. 34
{I UOW}.... 34
<HEWS>.... -34
------------------------------------------------------------
(The King James & only the King James Version):
Psalm *46* : "SHAKE" is the *46*th word from the beginning,
............. and "SPEAR" is the *46*th word from the end.
-----------------------------------------------------------------------------
................. <= 46 =>
.
. SHakespeareatl e. n g t h .thypi. o u s f e l l o w e s g i u e T h e .worl
. dthyWorkesthyW o. r k e s .bywhi. c h o u t l i u e T h y T o m b e,t .hyna
. memustwhenthat S. T O N E .isren. t A n d T i m e d i s s o l u e s t .hyST
. RATFORDMONIMEN T. H e r e .weali. u e s h a l l v i e w t h e e s t i .llTh
. isBookeWhenBra s {S}e a n .dMarb. l e f a d e,s h a l l m a k e t h e .eloo
. keFreshtoallAg e {S W}h e .nPost. e r i t i e S h a l l l o a t h w h .atsn
. ewthinkeallisp r {O}d{E}g .ieTha. t I{S}N O T*S[H]A K E S P E A R E S* eury
. LineeachVerseH e {R}e s{H} allre. u i u{E}r E[D]e e m e t h e e f r o .mthy
. HerseNorFireno r {C}a n k .ringA. g e a s{N|A]s o s a i d O f h i s t .hywi
. tfraughtBookes h [A]l l o .ncein. u a d E[N|O}r s h a l l I e r e b e .leeu
. eorthinketheed e [A]d T h .oughm. i s T[U]n t{I}l l o u r b a n k r o .utSt
. agebespedImpos s. i b l e .withs. o m[E]n e w s t r a i n e t o u t d .oPas
. sionsofIulieta n. d h e r .Romeo. O[R]t i l l I h e a r e a S c e n e .more
. noblytakeThenw h. e n t h .yhalf [S|W O R D}p a r l y i n g R o m a n .sspa
. keTillthesetil l. a n y o .fthyv. o l u m e s r e s t S h a l l w i t .hmor
. efiremorefeeli n. g b e e .xprEs. t B e s u r e o u r S h a k e s p e .aret
. houcanstnEVERD Y. E B u t .crOwn. d w i t h L a w r e l l l i u e e t .erna
. lly.
.
[H.DANUERS] 45 : Prob. in poem ~ 1 in 192,000
(IONES) -47 : Prob. mear [H.DANUERS] ~ 1 in 950
{[AA]CROSS} -46 : Prob. {CROSS} in poem ~ 1 in 67
{HEWS} -47
---------------------------------------------------------
http://shakespeareauthorship.com/monrefs.html
17th-century References to Shakespeare's Stratford Monument
by David Kathman
<<One of the 1623 First Folios in the Folger Shakespeare Library
(no. 26 according to the Folger numbering) contains 3 handwritten
poems on the last end page of the volume, written in a secretary
hand dating from approximately the 1620s. The first of these is
the poem from Shakespeare's monument in the Stratford church
("Stay passenger why go'st thou by so fast"). The second
is not recorded elsewhere, and goes as follows:
..............................................................
. Heere Shakespeare lyes w{H}[OME N]one but Death could *SHAKE*
. and he{E}re shall ly till judgeme[N]t all awake;
. {W}h[E]n the last tru[M]pet doth uncl[O]se hi{S} eyes
. the wi{T}tie{S}t po{E}t in {T}*HE W*[O]rld [S]hall *RISE*.
.........................................................
.................... <= 31 =>
.
. S h a k e s p e a r e l y e s w {H}[O M E N]o n e b u t D e a t
. h c o u l d*S H A K E*a n d h e {E} r e s h a l l l y t i l l j
. u d g e m e[N]t a l l a w a k e {W} h[E]n t h e l a s t t r u[M]
. p e t d o t h u n c l[O]s e h i {S} e y e s t h e w i{T}t i e{S}
. t p o{E}t i n{T}h e w[O]r l d[S] h. a(L)l R I S E.
.
{HEWS} 31 : Prob. ~ 2 in 15
.........................................................
.......... <= 12 =>
.
.. S. h. a k e s p e. a. r e l
.. y. e (S)w h[O M E. N] o n e
.. b. u. t D e a t h. c. o u l
.. d *S. H A K E*a n. d. h(E)e
.. r. e. s h a l l l. y. t i l
.. l. j. u d g e m e [N] t a l
.. l. a. w a k e(W)h [E] n t h
.. e. l. a s t t r u [M] p e t
.. d. o. t h u n c l [O] s e h
.. i. s (E)y e s t h. e. w i{T}
.. t. i. e{S}t p o{E} t. i n{T}
..*H. E. W*[O]r l d[S] h. a(L)l
. *R. I. S. E.*
.
[NEMO] 12 : Prob. ~ 1 in 88
.....................................
..... <= 4 =>
.
... e.. w. i {T}
.. (T). i. e {S}
.. (T) <P> o {E}
.. (T) <I> n {T}
.. (H) <E> w {O}
... r. .l. d {S}
... h. .a. l. l
.. *R. .I. S. E*.
..........................................
{SO TEST} -4 (Prob. skip <5 ~ 1 in 2580)
----------------------------------------------------
5[S WE H]'s:
...................................................
TO THE MOST NOBLE AND INCOMPARABLE PAIRE OF BRETHREN.
WILLIAM Earle of Pembroke...
WHilst we studie to be thankful in our particular,
for the many fauor[S WE H]aue receiued from your L.L
...................................................
While we name them trifle[S, WE H]aue
depriu'd our selues of the defence of our Dedication.
...................................................
When they were acted, as before they Were *PUBLISHED*,
the Volume ask'd to be your[S. WE H]aue but collected them,
...................................................
Wherein, a[S WE H]aue iustly obserued, no man to come neere your L.L.
...................................................
and many Nation[S (WE H]aue heard) that had not gummes & incense,
--------------------------------------------------------------
. King Richard II Act 3, Scene 2
.
KING RICHARD II: Our lands, our lives and all are Bolingbroke's,
. . And nothing can we call our own but death
. . And that small model of the barren earth
. . Which serves as *PASTE and COVER to our BONES*.
..........................................................
"[Shakespeare] is a Brontosaur: nine *BONES* and
. six hundred barrels of *PLASTER* of paris." - Mark Twain
--------------------------------------------------------------
Quince: Then there is another thing,
. we must haue a wall in the great Chamber; for Pi-
. ramus and Thisby (saies the story) did talke
. through the chinke of a wall.
.
. THOMA(s) SNOUT: You can neuer bring in a wall.
. [SOUTHAM(p)TON] What say you Bottome?
.
Bottom: Some man or other must present wall, and let
. him haue some *PLASTER*, or some Lome, or some rough
. cast about him, to signifie wall; or let him hold his fin-
. gers thus; and through that cranny shall Piramus and
. Thisby whisper.
----------------------------------------------------------------
READ IF THOV CANST, WHOM ENVIOVS DEATH HATH *PLAST*
WITH IN THIS MONVMENT SHAKSPEARE: WITH WHOME,
QUICK [NATURE DIDE] [WHoSE] [NAM {E] DO}<TH. DECK.> YS TOMBE,
*FAR* MORE,THEN COST: [SIEH] ALL, YT HE HATH WRITT,
................................................................
[N(a)TUREDIDE] [.W.H.oS.E] [si eH] [NAM {E] DO}<TH. DECK.>
[He is] [E.MAN.]&[E.So. H.W.] [EDIDERUT(a)N] / {EDO} <TH. DECK.>
.............................................................
{EDO}: I give out, put or bring forth; eject, discharge.
. I produce, bear, give birth to, yield, form, *BEGET* .
. I put forth, *PUBLISH* , spread abroad.
. I *SET FORTH*, relate, tell, disclose, deliver, announce, declare.
. I produce, perform, show, inflict, bring about, cause.
. I \ARAISE\ , lift, elevate.
.
[EDIDERUNT(a)]: 3rd-person plural perfect active indicative of {EDO}
[They have *SET FORTH*]
-----------------------------------------------------------------
To [.W.H.oS.E] sound chaste wings obay.
...................................................
3: [.W.H.oS.E] fresh repaire if now thou not renewest,
8: [.W.H.oS.E] speechlesse song being many, seeming one,
....................................................
. *EDO-uardus VERUS*
....................................................
. {EDO} , edere, EDIDI, EDITum, [EDIDERUNT] (Latin)
. give out, *SET FORTH*; bring forth, beget, produce;
. relate, tell, utter; *PUBLISH*.
-------------------------------------------------------------
Master. [BOTESW]aine.
[BOTES]: Heere Master: What cheere?
[BOTES]: Heigh my hearts, cheerely, cheerely my harts:
. yare, yare: Take in the toppe-sale: Tend to th'Masters
. whistle: Blow till thou burst thy winde, if roome enough.
Alon. Good [BOTESW]aine haue care:
. where's the Master? Play the men.
[BOTES]: I pray now keepe below.
Anth. Where is *the MASTER*, Boson?
[BOTES]: Do you not heare him? you marre our labour,
. Keepe your Cabines: you do assist the storme.
Gonz. Nay, good be patient.
[BOTES]: When the Sea is: hence, what cares these
. roarers for the name of King? to Cabine;
. silence: trouble vs not.
Gon. Good, yet remember whom thou hast aboord.
[BOTES]: None that I more loue then my selfe. You are
. a Counsellor, if you can command these Elements to si-
. lence, and worke the peace of the present, wee will not
. hand a rope more, vse your authoritie: If you cannot,
. giue thankes you haue liu'd so long, and make your
. selfe readie in your Cabine for the mischance of the
. houre, if it so hap. Cheerely good hearts: out of our
. way I say. Exit.
Enter [BOTESW]aine.
[BOTES]: Downe with the top-Mast: yare, lower, lower,
. bring her to Try with Maine-course. A plague ---
. A cry within. Enter Sebastian, Anthonio & Gonzalo.
. vpon this howling: they are lowder then the weather,
. or our office: yet againe? What do you heere? Shal
. we giue ore and drowne, haue you a minde to sinke?
. Sebas. A poxe o'your throat, you bawling, blasphe-
. mous incharitable Dog.
[BOTES]: Worke you then.
Anth. Hang cur, hang, you whoreson insolent Noyse-
. maker, we are lesse afraid to be drownde, then thou art.
Gonz. I'le warrant him for drowning, though the
. Ship were no stronger then a Nutt-shell,
. and as leaky as an vnstanched wench.
[BOTES]: Lay her a hold, a hold, set her
. two courses off to Sea againe, lay her off.
Enter Mariners wet.
Mari. All lost, to prayers, to prayers, all lost.
[BOTES]: What must our mouths be cold?
-----------------------------------------------------------
http://www.bbc.com/news/education-35973094
<<There is a stage direction in King Lear, which, in the early
part of the print run, says rather cryptically "H {EDIS}",
which is then updated in later copies to "He dis"
before it is finally corrected to "He dies".>>
------------------------------------------------------
. "H {EDIS}" : {You *PUBLISH*} "H".
..................................................
_______ 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
-----------------------------------------------------------
http://91.1911encyclopedia.org/S/SH/SHAKESPEARE.htm
Loading Image...
<<The Stratford bust & monument must have been erected
on the N. wall. The design in its general aspect was one
often adopted by the "tombe-makers" of the period, and
according to Dugdale was executed by a *Fleming* resident
in London since 1567, Garratt Johnson (Gerard JANssen),
who was occasionally a collaborator with *NICHOLAS STONE*,
Esq., (fellow Freemason Warden with [W]illiam [H]erbert).
.............................................................
. Gerard JANssen / NICK Stone
. Q1 Rossencraft Gilderstone
. Q2 Rosencrans Guyldensterne
. F1 Rosincrane Guildensterne
. F2,3,4 Rosincross(e) Guildenstare
. Rosy Cross Stone Guild
. Rosicrucians Freemasons / the Craft
------------------------------------------------------------
Art Neuendorffer
<<While browsing through the book, 'Secret Diplomacy,
Expionage & Cryptography 1500-1815,' BALLANTINE learned that
authors of Greek tragedies traditionally constructed their
plays 'so that the first 8 iambic lines made 4 connected
anagrams. *The first Two lines gave the name of the author*'>>
.............................................................
________ *The Two Gentlemen of VEROna*
.
VALENTINE: CEease to perswade, my louing Protheus;
. HOME-keeping youth, haue *{EU}ER HO{M}ELY WIT{S}*
....................................................
. . . *{EU}ER HO{M}ELY WIT{S}*
.....................................
. . . . . . . . . {M}
. . . . . . . . . {U}
. .*W R I O T H E {S} L E Y*
. . . . . . . . . {E}
----------------------------------------------------------
Terry Ross wrote: <<The emblematic device at the head
. of the [*MINERVA* Britanna] title page with its motto:
........................................................
. . "{UT} *CANDLE* [A]LIJ[S],
. . .ME C[ONS]U *CANDLE* [M]O"
. ("as you burn I consume myself") and
. its picture of two lighted *CANDLES*.>>
.
Loading Image...
...............................................
. . <= 4 =>
.
. [M] .O {U T}
. [A] .L .I J
. [S] .M .E C
. [O. N S] .U
.......................................................
<<The (U)nfortunate (T)raveller (1594) by Thomas Nashe
is a picaresque novel about Jack Wilton's adventures
through the European continent in which he finds himself
swept up in the currents of 16th-century history.>>
-----------------------------------------------
. . . . <= 3 x 7 =>
.
. {U}(P O N) t h e L i n e s a n d L i f e o f
. {T}(H E) F a m o u s S c e n i c k e P o e t
.
. [M A S T E R] W I L L I A M S H A K E S P E
. [A] R E T h o s e h a n d s w h i c h y o u
. [S] O c l a p t g o n o w a n d w r i n g Y
. [O] u B r i t a i n e s b r a v e f o r d o
. [N] e a r e S h a k e s p e a r e s d a y e
. [S]
.
[MASONS] 21 : Prob. at start of poem ~ 1 in 9460
------------------------------------------------------
. . {U|PON) the Lines and Life of {T|HE) Famous
. . . . . Scenic Poet, [MASTER] William
. . . . . . . . .Shakespe[A]re.
.
. Those hands, which you [S]O clapt, go now, and wring
. Y[O]u Britaines brave; for do[N]e are Shakespeares daye[S]:
.
. His dayes are done, that made the dainty Playes,
. Which made the Globe of heav'n and earth to ring.
. Dry'de is that veine, dry'd is the Thespian Spring,
. Turn'd all to teares, and Phoebus clouds his rayes:
. That corp's, that coffin now besticke those bayes,
. Which crown'd him {POET} first, t[H]en {PO[E]TS} Ki[N]g.
. If T[R]aged[IES] migh{T} any P{R}olog{U}e hav{E},
. All t[H]ose h[E] made, [W]ould [S]cars(E) make (O)ne to this:
. Where Fame, now that he gone is to the grave
. (Deaths publique tyring-house) the Nuncius is.
. . For though his line of life went soone about,
. . The life yet of his lines shall never out.
.
. . . . . . . . . . . Hugh Holland
...............................................
... <= 5 =>
.
. {P. O. E. T} f
.. i. r. s. t, t
. [H] e. n {P. O
. [E] T S}. K. i
. [N] g. I. f. T
. [R] a. g. e. d
. [I. E. S] m. i
.. g. h {T} a. n
.. y. P {R} o. l
.. o. g {U} e. h
.. a. v {E} A. l
.. l. t [H] o. s
.. e. h [E] m. a
.. d. e,[W] o. u
.. l. d [S] c. a
.. r. s (E) m. a
.. k. e (O) n. e
..........................................
[HENRI/ES] 5 : Prob. in poem ~ 1 in 8,000
{TRUE} 5 : Prob. in poem ~ 1 in 28
[HEWS] 5 : Prob. in poem ~ 1 in 25
----------------------------------------------
. [ALL FOR ONE] : [TOUT PAR UNG]
...............................................
https://tinyurl.com/yczlkh29
“The {TWO} Most Noble [HENRI/ES]”
– [He]nry de [VERE] & Henry Wriothesley –
89th Reason why the 17th Earl of Oxford was “Shakespeare”
..................................................................
https://en.wikipedia.org/wiki/Henry_de_Vere,_18th_Earl_of_Oxford
[He.] de [VERE], 18th Earl of Oxford KB (24 Feb. 1593 – June 1625)
Henry Wriothesley, 3rd Earl of Southampton (6 Oct. 1573 – 10 Nov. 1624)
-----------------------------------------------------------------
........... Sonnet 19
.
. Make glad and sorry seasons as thou fleet'st,
. And do what ere (t)hou wil[T (S)WIFT]-foo(t)ed time
. T(o) the wi{D}e (w)orld and [{A}LL] her fadi{N}g sweets:
. Bu{T} I [FOR]bid th{E}e [ONE] most h{A}inous crime,
.
. O car{U}ue not wi{T|H] thy ho{W|e]rs my l{O|V]es fair[E] brow,
. No[R] draw no[E] lines there with thine antique pen,
. Him in thy course vntainted doe allow,
. For beauties patterne to succeding men.
.
. Yet doe thy worst ould Time dispight thy wrong,
. My love shall in my verse *EVER (liv)E YOUNG*.
.............................................
. . . . <= 7 =>
.
.. O c a r {U} e. n
.. o t w i {T}[H] t
.. h y h o {W}[e] r
.. s m y l {O}[V] e
.. s f a i. r [E] b
.. r o w,N. o [R] d
.. r a w n. o [E] l
.. i n e s. t. h. e
.. r e
.
[He.VERE] 7
.................................
. . . . . <= 10 =>
.
...... A. n. d. d. o. w h. a t
... e. r. e (t) h. o. u w. i l
.. [T (S) W. I. F. T] f o. o(t)
... e. d. t. i. m. e. T(o) t h.
... e. w. i {D} e (w) o r. l d.
... a. n. d [A} L. L] h e. r f
... a. d. i {N} g. s. w e. e t
... s: B. u {T} I [F. O R] b i
... d. t. h {E} e [O. N E] m o
... s. t. h {A} i. n. o u. s c
... r. i. m. e,
.
{DANTE A.} 10
------------------------------------------------------------------
https://en.wikipedia.org/wiki/Saint_Lucy
<<[LUCIA] of Syracuse (283–304), also known as Saint Lucy is patron
saint of the blind, *AUTHORS*, cutlers, glaziers, laborers, & *PEASANTS*.
[LUCIA] appears in {DANTE A}lighieri's Inferno Canto II as the messenger
sent to Beatrice from the Virgin Mary, to rouse Beatrice to send Virgil to
{DANTE}'s aid. In the Purgatorio 9:52–63, Lucy carries the sleeping {DANTE}
to the entrance to Purgatory. Then in Paradiso *32* {DANTE} places her
opposite Adam within the *MYSTIC ROSE* in Canto *32* of the Paradiso.>>
-------------------------------------------------------------
. . . . . Sonnet 8
.
. MVsick to heare, why hear'st thou musick sadly,
. Sweets with sweets warre not , ioy de{LIGHTS} in ioy:
. Why lou'st thou that which thou receaust not g[L]adly,
. Or else receau'st with pleas[U]re thine annoy ?
. If the true con[C]ord of well tuned sounds,
. By vn[I]ons married do offend thine e[A]re,
. They do but sweetly chide thee , who confounds
. In singlenesse the parts that thou should'st beare:
......................................................
................................. <= 25 =>
.
. M V s i c k t o h e a r e,w h y. h. e .a r's t. t h o
. u m u s i c k s a d l y,S w e e. t (S) w i t h. s w e
. e t s w a r r e n o t,i o y d e {L. I .G H T S} i n i
. o y:W h y l o u's t t h o u t h. a (T) w h i c. h t h
. o u r e c e a u s t n o t g l a. d [L] y,O r e. l s e
. r e c e a u's t w i t h p l e a. s [U] r e t h. i n e
. a n n o y?I f t h e t r u e c o. n [C] o r d o. f w e
. l l t u n e d s o u n d s,B y v. n [I] o n s m. a r r
. i e d d o o f f e n d t h i n e. e [A] r e,
.
[LUCIA] 25
----------------------------------------------------------
...... Hamlet (1604 Quarto2) : III, ii
.
Polonius: {LIGHTS}, {LIGHTS}, {LIGHTS}. Exeunt all but Ham. & Horatio.
....................................................
....... Hamlet (1623 Folio) : III, ii
.
All. {LIGHTS}, {LIGHTS}, {LIGHTS}. Exeunt
----------------------------------------------------------
. . . . . . Sonnet 72
.
.. Vnles{S}e you would deuise some ver{T}uous lye,
.. To doe more for me t{H}en mine owne desert,
.. And han{G} more praise vpon deceased {I},
.. Then nigard truth would wi{L}lingly impart:
.
.. O least your true loue may seeme falce in this,
.. That you for loue speake well of me vntrue,
. *My name be buried where my body is*,
.. And liue no more to shame nor me, nor you.
......................................................
. . . . . <= 23 =>
.
. V n l e s {S} e y o u w o u l d d e u i s e s o
. m e v e r {T} u o u s l y e,T o d o e m o r e f
. o r m e t {H} e n m i n e o w n e d e s e r t,A
. n d h a n {G} m o r e p r a i s e v p o n d e c
. e a s e d {I},T h e n n i g a r d t r u t h w o
. u l d w i {L} l i n g l y i m p a r t:
.
{LIGHTS} -23: Prob. any Sonnet quatrain ~ 1 in 60
----------------------------------------------------------
.......... Sonnet 76
.
. For as the *SUN* is daily new and old,
. So is my loue still te{L}l{I}n{G} w{H}a{T} i{S} told,
{LIGHTS} 2: Prob. in last couplet ~ 1 in 197,000
-----------------------------------------------------
. THE SKETCH BOOK OF GEOFFREY CRAYON, GENT.
THE SPECTRE BRIDEGROOM. A *TRAVELLER’S* TALE.*
By Washington Irving [https://tinyurl.com/y9nodvn5]
.......................................................
.......................................................
The drawbridge had been let down, and the {STRANGER} was before the gate. He was a tall, gallant cavalier, mounted on a black steed. His countenance was pale, but he had a beaming, romantic eye, and an air of stately melancholy. The baron was a little mortified that he should have come in this simple, solitary style. His dignity for a moment was ruffled, and he felt disposed to consider it a want of proper respect for the important occasion, and the important family with which he was to be connected.
. He pacified himself, however, with the conclusion,
. that it must have been youthful impatience which ha[D]
. induced him thus to spur on sooner than his [A]ttendants.
.... “I am sorry,” said the {STRANGER},
.. “to b[R]eak in upon you thus unseasonably-”
Here the [B]aron interrupted him with a world of compl[I]ments
and greetings; for, *to tell the truth*, h[E] prided himself
upon his courtesy and eloq{U}ence. The {STRANGER} attempted,
once or twice, {T}o stem the torrent of words, but in vain,
so he bowed his head and suffered it to flow on.
.............................................
. . <= 36 =>
.
. itm. u. sthaveb. eenyouth. fulimpati. encewhic
. hha [D] induced. himthust. ospuronso. onerthan
. his [A] ttendan. tsIamsor. rysaidthe {STRANGER}
. tob [R] eakinup. onyouthu. sunseason. ablyHere
. the [B] aronint. errupted. himwithaw. orldofco
. mpl [I] mentsan. dgreetin. gsfortote. llthetru
. thh [E] pridedh. imselfup. onhiscour. tesyande
. loq {U} enceThe {STRANGER} attempted. onceortw
. ice {T} ostemth. etorrent. ofwords
.
[DARBIE {UT}] 36 : Lord {STRANGE} : Traveler
.......................................................
.......................................................
The dismay at the castle may well be imagined. The baron
shut himself up in his chamber. The guests, who had come to
re{J}oice {W}ith h{I}m, cou{L}d not {T}hink {O}f aba{N}doning
him in his distress. They wandered about the courts or collected
in groups in the hall, SHAKing their heads and shrugging their
shoulders at the troubles of so good a man, and sat longer
than ever at table, and ate and drank more stoutly than
ever, by way of keeping up their spirits.
.
{J.WILTON} 5 : Prob. in _A *TRAVELLER’S* TALE_ ~ 1 in 25,000
-------------------------------------------------------------
. . . . The Tempest Act IV, scene I
.
Caliban:
. The drops{I}e drode{W}ne th{I}s foo{L}e, wha{T} doe y{O}u (mea{N}e
. To doate thus on such luggage? let's alone
. And doe the murther first: if he awake,
. From toe to crowne hee'l fill our skins with pinches,
. Make vs {STRANGE} stuffe.
.
{I.WILTON} 5 : Prob. in a line of the Tempest ~ 1 in 7,500
.......................................................
<<The (U)nfortunate (T)raveller (1594) by Thomas Nashe
is a *picaresque novel* about {I}ack {WILTON}'s adventures
through the European continent in which he finds himself
swept up in the currents of 16th-century history.>>
----------------------------------------------------------
Shakespeare Oxford Newsletter Vol. 51, No. 3: Summer 2015
- by Mark Stahley, St Paul MN
......................................................
<<I tried putting [the 144 dedication letters]
in a 12x12 square. The letters "ORIW" going down
caught my eye... and I realized you could unscramble
them to spell the name "H. Wriotheslie, SH"
("SH" for Southampton, perhaps). In the grid
below, you can see the contiguous letters:
"TO {WRIOTHESL(ie)}" .>>
.........................................
....... <= 12x12 SQUARE =>
.
. . 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. I. N. G {F} O. R T H
.........................................
- _The De Vere Code_ by Jonathan Bond
.......................................
[VOTIS] : to *VOW* or *PROMISE*
{PARE/O} : to appear, be visible
.
{MNEME} : (Μνήμη) muse of *MEMORY* Prob. ~ 1 in 45,000
.
TO {WRIOTHESL(y)} : Prob. ~ 1 in 4000
. [NE{V}IL{L}E] : Prob. ~ 1 in 2100
.
{PARE} : Ovid's _Fasti_ 3
PAR/PARIS : a companion, comrade, mate
-------------------------------------------------------
. Antony and Cleopatra Act 5, Scene 2
.
CLEOPATRA: Shall they hoist me up
. And show me to the shouting varletry
. Of censuring Rome? Rather a ditch in Egypt
. Be gentle grave unto me! rather on *NILUS' mud*
. Lay me stark naked, and let the water-flies
. Blow me into abhorring! rather make
. My country's high PYRAMIDES my *GIBBET*,
. And HANG me up *IN CHAINS* !
..................................................................
*GIBBET*, n. [OE. gibet, F. gibet, in OF. also club, fr. LL.
gibetum; cf. OF. gibe sort of sickle or hook, It. giubbetto gibbet,
and giubbetta, dim. of giubba mane, also, an under waistcoat,
doublet, Prov. It. gibba); so that it perhaps originally signified
a halter, a rope round the neck of malefactors; or it is,
perhaps, derived fr. L. gibbus HUNCHED, HUMPED,
E. gibbous; or cf. E. jib a sail.] 1. A kind of gallows;
an upright post with an arm projecting from the top,
on which, formerly, malefactors were hanged *IN CHAINS* ,
and their bodies allowed to remain as a warning.
--------------------------------------------------------
. . . . . . . . . . . . . <= 16 x 9 =>
.
__________________ 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 U 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 U R E V E R l(I)V I(N)G P
__________________ O. E T W I S H E T H T(H)E W(E)L
__________________ L |W]I S H I N G A D V E n T U(R)
__________________ E |r]I N S E T T I N G{f o r}T H
......................................................
T 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| .U 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] U(R) e V E R L
I V I(N) G P O E T [W|I] S H(E) t H T H
E W(E) L L W I S H [I] N G A(d V e) N T
U(R) E R I N S E T [T] I N G{f o r} T H
.
. . . . . . . <= 18 x 9 =>
--------------------------------------------------
http://www.philological.bham.ac.uk/anagrams/
.
<<Even more curious is the one for Southampton,
which explicitly states that he had been convicted
of treason on false testimony inspired by envy.>>
.............................................
. HENRICUS URIOTHESLEUS
_____ per anagramma
. *THESEUS* NIL REUS HIC RUO
.
.. [I] ure quidem poteras hanc fundere ab ore querelam,
.. [S] ors tibi dum ficto crimine dura fuit:
. "[N] il reus en Theseus censura sortis iniquae
.. [H] ic ruo, livoris traditus arbitrio."
.. [A] t nunc mutanda ob mutata pericla querela est.
.. [I] nclite, an innocuo pectore teste rues?
.. [N] on sane. Hac haeres vacuo dat *VIVERE* cura,
.. [C] ollati imperii sub Iove sceptra gerens.
.............................................
. *ISNHAINC* {anagram} *IN CHAINS*
.
. . *Victorious though IN CHAINS* )
.............................................
. HENRY WRIOTHESLEY by an anagram
. ('HERE I FALL, *THESEUS, GUILTY OF NOTHING* ')
.
Justly you were able to pour forth this complaint from
your mouth, your lot was harsh while a false accusation
prevailed. 'L.O. , Theseus is guilty of NOTHING , *HERE*
I fall by an unfair lot's censure, betrayed by ENVY's whim.'
But now the complaint is to be altered, because of
altered perils. Great man, do you take a fall
with an innocent heart bearing witness? Not at all.
The HEIR, wielding the scepter of rule conferred
under Jove's auspices, grants you to live free of this
.............................................
http://www.philological.bham.ac.uk/anagrams/text.html
-----------------------------------------------------------------
Plutarch's Lives Volume I : http://www.stoics.com/plutarch_1.html
. Translated out of Greek into French by James Amyot,
. Abbot of Bellozane, Bishop of Auxerre,
. and out of French into Englishe by *THOMAS NORTH*
.
<<The greatest and most solemne sacrifice they doe unto
[*THESEUS*] is on the *eight daye of October*, in which he return-
. THESEVS ed from CRETA, with the other younge children of ATHENS:
-----------------------------------------------------------------
*eight daye of October*, 1600 A Midsummer Night's Dream entered
. on Stationers' Register.
..............................................................
. THOMA(s) SNOUT
. SOUTHAM(p)TON
..........................................................
https://en.wikipedia.org/wiki/Tom_Snout
.
<<[THOMA(s) SNOUT] is a character in William Shakespeare's A Midsummer Night's
Dream. He is a tinker, and one of the "mechanicals" of Athens, amateur players
in Pyramus and Thisbe. Tom Snout was originally set to play Pyramus's father,
but the need for a wall was greater, so he discharged The Wall which separates
Pyramus' and Thisbe's gardens. In Pyramus and Thisbe, the two lovers whisper
to each other through SNOUT's fingers (representing a gap in the wall).
Snout has eight lines under the name of TOM SNOUT, and
two lines as The Wall. He is the Wall for Act V-Scene 1.
..................................................................
Wall: Thus have I Wall, my part discharged so;
. And being done, thus Wall away doth go.
..............................................................
. This man, with lyme and rough-cast, doth present
. Wall, that vile wall, which did these louers sunder:
. And through walls chink (poor soules) they are content
. To [W.H.]isper. At the which, let *no man* wonder.
--------------------------------------------------------
.. T O T H E R I G H T H O N O R A B L E
. Henrie Wriothesley, Earle of Southampton,
. and Baron of Titchfield.
. RIght Honourable, I know not how I shall offend in
. dedicating my unpolisht lines to your Lordship, nor
. how the worlde Will censure mee for choosing so
. strong a proppe to support so Weake a burthen,
. onelye if your Honour seeme but pleased, I ac-
. count my selfe highly praised,
. and *VOWE* to take advantage of all idle houres,
TILL I [H]AV[E] HO[N]OU[R]ED [Y]OU [W.]IT[H.] SO[M]E G[r.]
........... . . . . . . . . . . . -AVER LABOUR.
[HENRY W.H. Mr.] 3 : Prob. [HENRY W.] in V&A dedication ~ 1 in 36,000
.....................................................................
AVER, n. [OF. AVER domestic animal, whence LL. AVERia, pl.
cattle. cf. {AVERage}.] A WORKING OX. [Obs. or Dial. Eng.]
..............................................................
. Moby Dick by Herman Melville: Chapter 103
. Measurement of The Whale's Skeleton
. The largest, a middle one, is in width somet[H]ing less than
. three fe[E]t, and in depth more tha[N] four. The smallest,
. whe[R]e the spine tapers awa[Y] into the tail, is only t[W]o
. inches in width, and looks something like a white billiard-ball.
.............................................................
[HENRY W.] 19 : shortest skip in Moby Dick or KJV.
-----------------------------------------------------------
. B.O.T. (Baron of Titchfield)
. E.S. (Earl of Southampton)
. W. (Wriothesley)
-----------------------------------------------------------
THE TEMPEST. Actus primus, Scena prima.
A tempestuous noise of Thunder and Lightning heard:
Enter a Ship-master, and a [BOTESW]aine.
.........................................................
. B.O.T.E.S.W.("aine" : "harmony" [Scottish] )
.
(B)aron (O)f (T)itchfield/(E)arl (S)outhampton/(W)riothesley
.........................................................
Master. [BOTESW]aine.
[BOTES]: Heere Master: What cheere?
--------------------------------------------------------
. (B)aron (O)f (T)itchfield/[H]enry [W]riothesley
.......................................................
. (T)his Figure, that thou here seest put,
..... It was for gentle Shakespeare cut,
... [W]herein the Graver had a strife
..... with Nature, to out-doo the life :
. (O), could he but have drawne his wit
..... As well in brasse, as he hath hit
... [H]is face ; the Print would then surpas[SE]
..... All, that was *EVER WRIT* in bras[SE].
. (B)ut, since he cannot, Reader, looke
..... Not on his Picture, but his Booke.
.........................................................
"In Vinculus Invictus" Motto in Tower Painting:
.
. https://tinyurl.com/zpa7rug
. https://tinyurl.com/gnj9385
.
DROESHOUT/HERODOTUS = "In Vinculus Invictus" Painting:
.
. 1) Large forehead
. 2) all seeing left eye
. 3) 14 buttons
. 4) eyebrows
. 5) nose
. 6) moustache
. 7) lips
.
Loading Image...
----------------------------------------------------------------
. (T)his F(I)gure, that thou here (S)eest put,
.. It w(A)s (F)or g{E}ntle Shakes(P)e(A)re c{UT},
. [W]herein th(E) G(R)ave{R H}ad a strife
.. with Na{TURE}, to out-doo the life :
.........................................................
........... <= 17 =>
.
. (T) h. i s F (I) .g u. r e,t h a t t h. o
.. u. h. e r e (S) .e e. s t p u t,I t w (A)
.. s (F) o r g {E} .n t. l e S h a k e s (P)
.. e (A) r e c {U T} [W] h e r e i n t h (E)
.. G (R) a v e {R H}. a. d a s t r i f e. w
.. i (T) h N a {T U R E},t o o u t-d o o. t
.. h. e. l i f. e:
........................................
{TRUE} -17 : Prob. in first Q. ~ 1 in 53
...................................................
. (O), coul(D) he but <H>a{V|E) drawn<E> h{I|S) wit
.. As <W>el{L} in bra<S>s{E}, as he hath <H>it
. [H]is fac<E> ; the Print <W>ould then <S>urpasse
. *ALL*, that was *EVER WRIT* in brasse.
. (B)ut, since he cannot, Reader, looke
.. Not on his Picture, but his Booke.
...................................................
....... . <= 9 =>
.
. (O) c. o. u. l. (D) h e. b
.. u. t <H> a {V} (E) d r. a
.. w. n <E> h {I} (S) w i. t
.. A. s <W> e {L} .l. i n. b
.. r. a <S> s {E} .a. s h (E)
.. h. a. t. h <H> .i. t[H](I)
.. s. f. a. c <E>; t. h e (P)
.. r. i. n. t <W> .o. u l. d
.. t. h. e. n <S> .u. r p. a
.. s. s. e *A. L. .L*
....................................
<HEWS> 9,9 : Prob. of both with same skip ~ 1 in 4,000
........................................................
"A man in hew *ALL* <HEWS> in his controwling"
.......................................................
. [H] [W] : [H]enry [W]riothesley
. <E> <S> : <E>arl of <S>outhampton
-----------------------------------------------------------
Dave Roper: "{SO TEST} Him, *I UOW* He Is Edward De Uere"
.............................................................
_______________ . . <= 34 =>
. T E R. R. A. T E .. [G] .I T,PO. PULUSMÆRE ______... TO. LY MPUSHABE. T
.........................................................................
. S T A. Y. P. A S .. [S] .E N GE. RWHYGOEST _ _ _ _ . TH. OV BYSOFAST. R
. E A D. I. F. T . (H)[O] .V C AN. STWHOM _ [E] .[N] .VIO. VS DEATHHAT. H
.*P L A <S> T* W . (I){T} <H{I}NT> HISMON _ [U] (M)[E] NT *SH AKSPEARE* W
. I T H <W> H. O . (M){E} .Q{U}IC. KNATVR _ [E D] (I)[D]E *WH OSENAMED* O
. T H D <E> C. K Y... {S} .T{O}MB. EFARMO _ [R E] t (H) E. NC OSTSIEHA. L
. L Y T <H> E. H A-.. {T} .H{W}RI. TTLEAV _ [E]S. L. I. V. IN GARTBVTP. A
. G E T. O. S. E R.... V. .E H IS. WITT
.......................................................
[EUERE][DE] 34
{SO TEST}.. 34
{I UOW}.... 34
<HEWS>.... -34
------------------------------------------------------------
(The King James & only the King James Version):
Psalm *46* : "SHAKE" is the *46*th word from the beginning,
............. and "SPEAR" is the *46*th word from the end.
-----------------------------------------------------------------------------
................. <= 46 =>
.
. SHakespeareatl e. n g t h .thypi. o u s f e l l o w e s g i u e T h e .worl
. dthyWorkesthyW o. r k e s .bywhi. c h o u t l i u e T h y T o m b e,t .hyna
. memustwhenthat S. T O N E .isren. t A n d T i m e d i s s o l u e s t .hyST
. RATFORDMONIMEN T. H e r e .weali. u e s h a l l v i e w t h e e s t i .llTh
. isBookeWhenBra s {S}e a n .dMarb. l e f a d e,s h a l l m a k e t h e .eloo
. keFreshtoallAg e {S W}h e .nPost. e r i t i e S h a l l l o a t h w h .atsn
. ewthinkeallisp r {O}d{E}g .ieTha. t I{S}N O T*S[H]A K E S P E A R E S* eury
. LineeachVerseH e {R}e s{H} allre. u i u{E}r E[D]e e m e t h e e f r o .mthy
. HerseNorFireno r {C}a n k .ringA. g e a s{N|A]s o s a i d O f h i s t .hywi
. tfraughtBookes h [A]l l o .ncein. u a d E[N|O}r s h a l l I e r e b e .leeu
. eorthinketheed e [A]d T h .oughm. i s T[U]n t{I}l l o u r b a n k r o .utSt
. agebespedImpos s. i b l e .withs. o m[E]n e w s t r a i n e t o u t d .oPas
. sionsofIulieta n. d h e r .Romeo. O[R]t i l l I h e a r e a S c e n e .more
. noblytakeThenw h. e n t h .yhalf [S|W O R D}p a r l y i n g R o m a n .sspa
. keTillthesetil l. a n y o .fthyv. o l u m e s r e s t S h a l l w i t .hmor
. efiremorefeeli n. g b e e .xprEs. t B e s u r e o u r S h a k e s p e .aret
. houcanstnEVERD Y. E B u t .crOwn. d w i t h L a w r e l l l i u e e t .erna
. lly.
.
[H.DANUERS] 45 : Prob. in poem ~ 1 in 192,000
(IONES) -47 : Prob. mear [H.DANUERS] ~ 1 in 950
{[AA]CROSS} -46 : Prob. {CROSS} in poem ~ 1 in 67
{HEWS} -47
---------------------------------------------------------
http://shakespeareauthorship.com/monrefs.html
17th-century References to Shakespeare's Stratford Monument
by David Kathman
<<One of the 1623 First Folios in the Folger Shakespeare Library
(no. 26 according to the Folger numbering) contains 3 handwritten
poems on the last end page of the volume, written in a secretary
hand dating from approximately the 1620s. The first of these is
the poem from Shakespeare's monument in the Stratford church
("Stay passenger why go'st thou by so fast"). The second
is not recorded elsewhere, and goes as follows:
..............................................................
. Heere Shakespeare lyes w{H}[OME N]one but Death could *SHAKE*
. and he{E}re shall ly till judgeme[N]t all awake;
. {W}h[E]n the last tru[M]pet doth uncl[O]se hi{S} eyes
. the wi{T}tie{S}t po{E}t in {T}*HE W*[O]rld [S]hall *RISE*.
.........................................................
.................... <= 31 =>
.
. S h a k e s p e a r e l y e s w {H}[O M E N]o n e b u t D e a t
. h c o u l d*S H A K E*a n d h e {E} r e s h a l l l y t i l l j
. u d g e m e[N]t a l l a w a k e {W} h[E]n t h e l a s t t r u[M]
. p e t d o t h u n c l[O]s e h i {S} e y e s t h e w i{T}t i e{S}
. t p o{E}t i n{T}h e w[O]r l d[S] h. a(L)l R I S E.
.
{HEWS} 31 : Prob. ~ 2 in 15
.........................................................
.......... <= 12 =>
.
.. S. h. a k e s p e. a. r e l
.. y. e (S)w h[O M E. N] o n e
.. b. u. t D e a t h. c. o u l
.. d *S. H A K E*a n. d. h(E)e
.. r. e. s h a l l l. y. t i l
.. l. j. u d g e m e [N] t a l
.. l. a. w a k e(W)h [E] n t h
.. e. l. a s t t r u [M] p e t
.. d. o. t h u n c l [O] s e h
.. i. s (E)y e s t h. e. w i{T}
.. t. i. e{S}t p o{E} t. i n{T}
..*H. E. W*[O]r l d[S] h. a(L)l
. *R. I. S. E.*
.
[NEMO] 12 : Prob. ~ 1 in 88
.....................................
..... <= 4 =>
.
... e.. w. i {T}
.. (T). i. e {S}
.. (T) <P> o {E}
.. (T) <I> n {T}
.. (H) <E> w {O}
... r. .l. d {S}
... h. .a. l. l
.. *R. .I. S. E*.
..........................................
{SO TEST} -4 (Prob. skip <5 ~ 1 in 2580)
----------------------------------------------------
5[S WE H]'s:
...................................................
TO THE MOST NOBLE AND INCOMPARABLE PAIRE OF BRETHREN.
WILLIAM Earle of Pembroke...
WHilst we studie to be thankful in our particular,
for the many fauor[S WE H]aue receiued from your L.L
...................................................
While we name them trifle[S, WE H]aue
depriu'd our selues of the defence of our Dedication.
...................................................
When they were acted, as before they Were *PUBLISHED*,
the Volume ask'd to be your[S. WE H]aue but collected them,
...................................................
Wherein, a[S WE H]aue iustly obserued, no man to come neere your L.L.
...................................................
and many Nation[S (WE H]aue heard) that had not gummes & incense,
--------------------------------------------------------------
. King Richard II Act 3, Scene 2
.
KING RICHARD II: Our lands, our lives and all are Bolingbroke's,
. . And nothing can we call our own but death
. . And that small model of the barren earth
. . Which serves as *PASTE and COVER to our BONES*.
..........................................................
"[Shakespeare] is a Brontosaur: nine *BONES* and
. six hundred barrels of *PLASTER* of paris." - Mark Twain
--------------------------------------------------------------
Quince: Then there is another thing,
. we must haue a wall in the great Chamber; for Pi-
. ramus and Thisby (saies the story) did talke
. through the chinke of a wall.
.
. THOMA(s) SNOUT: You can neuer bring in a wall.
. [SOUTHAM(p)TON] What say you Bottome?
.
Bottom: Some man or other must present wall, and let
. him haue some *PLASTER*, or some Lome, or some rough
. cast about him, to signifie wall; or let him hold his fin-
. gers thus; and through that cranny shall Piramus and
. Thisby whisper.
----------------------------------------------------------------
READ IF THOV CANST, WHOM ENVIOVS DEATH HATH *PLAST*
WITH IN THIS MONVMENT SHAKSPEARE: WITH WHOME,
QUICK [NATURE DIDE] [WHoSE] [NAM {E] DO}<TH. DECK.> YS TOMBE,
*FAR* MORE,THEN COST: [SIEH] ALL, YT HE HATH WRITT,
................................................................
[N(a)TUREDIDE] [.W.H.oS.E] [si eH] [NAM {E] DO}<TH. DECK.>
[He is] [E.MAN.]&[E.So. H.W.] [EDIDERUT(a)N] / {EDO} <TH. DECK.>
.............................................................
{EDO}: I give out, put or bring forth; eject, discharge.
. I produce, bear, give birth to, yield, form, *BEGET* .
. I put forth, *PUBLISH* , spread abroad.
. I *SET FORTH*, relate, tell, disclose, deliver, announce, declare.
. I produce, perform, show, inflict, bring about, cause.
. I \ARAISE\ , lift, elevate.
.
[EDIDERUNT(a)]: 3rd-person plural perfect active indicative of {EDO}
[They have *SET FORTH*]
-----------------------------------------------------------------
To [.W.H.oS.E] sound chaste wings obay.
...................................................
3: [.W.H.oS.E] fresh repaire if now thou not renewest,
8: [.W.H.oS.E] speechlesse song being many, seeming one,
....................................................
. *EDO-uardus VERUS*
....................................................
. {EDO} , edere, EDIDI, EDITum, [EDIDERUNT] (Latin)
. give out, *SET FORTH*; bring forth, beget, produce;
. relate, tell, utter; *PUBLISH*.
-------------------------------------------------------------
Master. [BOTESW]aine.
[BOTES]: Heere Master: What cheere?
[BOTES]: Heigh my hearts, cheerely, cheerely my harts:
. yare, yare: Take in the toppe-sale: Tend to th'Masters
. whistle: Blow till thou burst thy winde, if roome enough.
Alon. Good [BOTESW]aine haue care:
. where's the Master? Play the men.
[BOTES]: I pray now keepe below.
Anth. Where is *the MASTER*, Boson?
[BOTES]: Do you not heare him? you marre our labour,
. Keepe your Cabines: you do assist the storme.
Gonz. Nay, good be patient.
[BOTES]: When the Sea is: hence, what cares these
. roarers for the name of King? to Cabine;
. silence: trouble vs not.
Gon. Good, yet remember whom thou hast aboord.
[BOTES]: None that I more loue then my selfe. You are
. a Counsellor, if you can command these Elements to si-
. lence, and worke the peace of the present, wee will not
. hand a rope more, vse your authoritie: If you cannot,
. giue thankes you haue liu'd so long, and make your
. selfe readie in your Cabine for the mischance of the
. houre, if it so hap. Cheerely good hearts: out of our
. way I say. Exit.
Enter [BOTESW]aine.
[BOTES]: Downe with the top-Mast: yare, lower, lower,
. bring her to Try with Maine-course. A plague ---
. A cry within. Enter Sebastian, Anthonio & Gonzalo.
. vpon this howling: they are lowder then the weather,
. or our office: yet againe? What do you heere? Shal
. we giue ore and drowne, haue you a minde to sinke?
. Sebas. A poxe o'your throat, you bawling, blasphe-
. mous incharitable Dog.
[BOTES]: Worke you then.
Anth. Hang cur, hang, you whoreson insolent Noyse-
. maker, we are lesse afraid to be drownde, then thou art.
Gonz. I'le warrant him for drowning, though the
. Ship were no stronger then a Nutt-shell,
. and as leaky as an vnstanched wench.
[BOTES]: Lay her a hold, a hold, set her
. two courses off to Sea againe, lay her off.
Enter Mariners wet.
Mari. All lost, to prayers, to prayers, all lost.
[BOTES]: What must our mouths be cold?
-----------------------------------------------------------
http://www.bbc.com/news/education-35973094
<<There is a stage direction in King Lear, which, in the early
part of the print run, says rather cryptically "H {EDIS}",
which is then updated in later copies to "He dis"
before it is finally corrected to "He dies".>>
------------------------------------------------------
. "H {EDIS}" : {You *PUBLISH*} "H".
..................................................
_______ 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
-----------------------------------------------------------
http://91.1911encyclopedia.org/S/SH/SHAKESPEARE.htm
Loading Image...
<<The Stratford bust & monument must have been erected
on the N. wall. The design in its general aspect was one
often adopted by the "tombe-makers" of the period, and
according to Dugdale was executed by a *Fleming* resident
in London since 1567, Garratt Johnson (Gerard JANssen),
who was occasionally a collaborator with *NICHOLAS STONE*,
Esq., (fellow Freemason Warden with [W]illiam [H]erbert).
.............................................................
. Gerard JANssen / NICK Stone
. Q1 Rossencraft Gilderstone
. Q2 Rosencrans Guyldensterne
. F1 Rosincrane Guildensterne
. F2,3,4 Rosincross(e) Guildenstare
. Rosy Cross Stone Guild
. Rosicrucians Freemasons / the Craft
------------------------------------------------------------
Art Neuendorffer