Discussion:
Though by your zeal, FORTUNE
(too old to reply)
Arthur Neuendorffer
2017-12-09 04:40:42 UTC
Permalink
----------------------------------------------------------------------
https://en.wikipedia.org/wiki/Matthew_Concanen#An_Essay_Against_Too_Much_Reading

<<Matthew Concanen (1701 – 22 January 1749) was a writer, poet & lawyer born in Ireland He criticised Alexander Pope and was rewarded with a passage in Pope's Dunciad ridiculing him as "A cold, long-winded native of the deep" (Dunciad, ii. 299-304). He was co-author of The history and antiquities of the parish of St. Saviour's, Southwark.

The 1728 anonymous pamphlet, An Essay Against Too Much Reading, has been attributed to Concanen, though it has also been identified (probably wrongly) as the work of a certain "Captain Goulding" (Thomas Goulding) of Bath. The author proposed "a short account of Mr Shakespeare's proceeding, and that I had from one of his intimate acquaintance..." Shakespeare is described as merely a collaborator who "in all probability cou'd not write English." With regard the Bard's grasp of history, the Essay related that Shakespeare "not being a scholar" employed a "chuckle-pated historian" who gave him a set of notes to save the trouble of research. The historian also corrected his grammar.>>
------------------------------------------------
. THE STORY OF THE LEARNED PIG
. As related by himself to the Author
. of the following letter.
.
Dear Sir,
.
. I have the pleasure to be v[E]ry
. intimate with the man w[H]o shews
. th(E) learned pig at[S]adl(E)r’s We(L)ls.
. As (I) was o(N)e d[A]y sitting (I)n
. his parlour, a[N]d no perso(N) in
. the house bu[T] myself, I was alarmed by a gentle
. rap at the door, which I immediately opened, and
. discovered the learned pig erect on his hinder legs,
. and bowing very gracefully with his head and body.
....................................................
. <= 22 =>
.
. I h a v e t h e p l e a s u r e t o b e v [E]
. r y i n t i m a t e w i t h t h e m a n w [H]
. o s h e w s t h (E) l e a r n e d p i g a t [S]
. a d l(E)r’s W e (L) l s.A s(I)w a s o(N)e d [A]
. y s i t t i n g (I) n h i s p a r l o u r,a [N]
. d n o p e r s o (N) i n t h e h o u s e b u [T]
. m y s e l f,

[T.NASHE] -22 : Prob. in first 2 sent. ~ 1 in 410
(NILE) -22,-5
---------------------------------------------------
. *STRANGE* Newes, 1592 by {T}homas {NASHE}
. Printed at London by *{I}ohn {DANTER}*, 1592.
...................................................
. Sonnet 76 : 4 X 19 (Metonic cycle)
.
. <= 19 =>
.
. E V E R {T} h e s a m e[A]n d k(E|E)p e
. i n u(E){N}(T)i o n i n a*N O T(E)D W(E)
. E D*T h {A}(T)E V E R y w o r(D|D]o t h
. a l m o {S}(T)F E L m[Y]n a m<E>S h e w
. i n g t {H}[E]i r b i r t h a n d w h e
. [R]e t h {E} y(D)i d p r o c e[E]d
.
{T.NASHE} 19 Prob. in Sonnet 76 ~ 1 in 450
[only *TNASHE* in Sonnets of any skip!]
----------------------------------------------------
Alfred, Lord Tennyson (1809–1892)

Lady Clara Vere de Vere,
You put *(S){T}RANGE* memories in my head.
Not thrice your bra(A){N}ching lines have blown
Since I beheld young (L){A}urence dead.
O your sweet eyes, your low repli(E){S}:
A great enchantress you may be;
But there was (T)H}at across his throat
Which you had hardly car{E}d to see.
...................................................
. <= 2 X 19 =>
.
. LadyClaraVeredeVereYouput *(S) {T} RANGE* memori
. esinmyheadNotthriceyourbr (A) {N} ching linesh
. aveblownSinceIbeheldyoung (L) {A} urenc edeadO
. yoursweeteyesyourlowrepli (E) {S} Agrea tencha
. ntressyoumaybeButtherewas (T) {H} atacr osshis
. throatWhichyouhadhardlyca r {E} dtose e

{T.NASHE} 38 : Prob. ~ 1 in 130
(TELAS) -38 : Web (Latin)
----------------------------------------------------------------
. Sonnet 76 (1609)
.
. WHy is my verse so barren of new pride?
. So far from variation or quicke *CHANGE*?
. Why with the time do I not glance aside
. {T}o new found methods, and to compounds *STRANGE*?
. {W}hy write I still all one, [EVER] the same,
. {A}nd keepe inuention in a *NOT{ED WEED}*,
. {T}hat {EVERy WORD} [D]oth almost fel {M[Y] NAME},
. {S}hewing th[E]ir birth, and whe[R]e {T}hey did proce[E]d?
. {O} k{N}ow sweet love I alw{A}ies writ[E] of you,
. A\n\{D} (Y)ou an[D] love are s(T|I|L)l my argument:
. So (A)ll my best is dressing old words new,
. Spending againe what is already spent:
. For as the Sun is daily new and old,
. So is my loue still telling what is told,
...................................................
[T.WATSO\n\] Acrostic Prob. ~ 1 in 5500
....................................................
Meres: "As {I|TALY) had {DANTE}, Boccace, Petrarch, ...
so England had {T}homas {WATSO\n\}, Thomas Kid, ..."
................................................
____ <= 15 =>
.
(N O T){E D W E E D}(T) h A T {E V
. E R y w o r D}[D](O) t h a l m o
. S T F E L {M [Y](N) A M E},S h e w
. i n g t H [E] I r b i r t h a n
. (D) w h e [R] e {T} h E y D i d p r
. (O) c e [E D] O K {N} o w s w e E t
. (L) o [V E] I a l w {A} i e s w r i
. (T)[E] o f y o u A n {D}(Y) o u a n
. [D] l O v E a r e s (T){I}(L) l m y
. a r g u m e n t: S o (A) l l m y
..................................................
{I.DANTE/R} skip -16 {found by James Ferris}
(DOLT) skip 15
..................................................
[DEVERE] skip -14 {found by James Ferris}
[DYER] skip 14 {found by A.W.Burgstahler}
[DYEREVED] Prob. in any Sonnet ~ 1 in 3,000
---------------------------------------------------------
{T.NASHE}'s _Haue with you to Saffron-walden_ was
printed at London by {I}ohn {DANTE/R} in 1596 when
{T.NASHE} was living with Mr. & Mrs. {I}ohn {DANTE/R}
.......................................................
{T.NASHE}'s _Haue with you to Saffron-walden_ (1596)

"Page, hee beginnes with one 100. againe to make it seeme little,
(if I lye you may look and conuince mee); & in halfe a quire of
paper besides, hath left the Pages vnfigured. I haue read that
the Gian[T] A[N]t[A]u[S] S[H]i[E]ld askt a whole Elephants
hyde to couer it, bona fide I v [...]ter it, scarce a
whole Elephants hyde & a half would serue for a couer"
..................................................
. Othello (Quarto 1, 1622) last scene
.
Emillia: Thou hast not halfe the power to doe me harme,
. As I haue to be hurt: O gull, O (DOLT),
----------------------------------------------------
http://quod.lib.umich.edu/e/eebo/A73861.0001.001/1:12?rgn=div1;view=fulltext

ELEGIES VP ON SVNDRY OCCASIONS
Of his Ladies not Comming to London.
By *MICHAELL DRAYTON*, Esquire.

LONDON, Printed by A. M. for WILLIAM LEE, and are to be sold at the
*TURKES* Head in Fleete-Streete, next to the Miter and Phaenix. 1631.
.......................................................
But when the unpittying [FATES] her end decreed,
They to the same did instantly proceed,
For well they knew (if she had languish'd so)
As those which hence by naturall causes goe,
So many prayers and teares for her had spoken,
As certainly th[E|I)r Iron lawes had broken,
And had awak'd heav'n, who clearely would have show'[D]
{T}hat change of Kingdoms to her death it ow'd,
And that the World still of her [E|N}d might thinke,
It would have let some neighboring mountain sinke
Or the [V|A}st Sea it in on us to cast,
As Severne did about some five yeares past:
Or som[E] {S}terne Comet his curld top to reare,
Whose length should measure halfe ou[R] {HE}misphere,
Holding this height, to say some will not sticke,
That now I rav[E], and am growne lunaticke:
You of what sexe so ere you be, you lye,
'Tis thou thy selfe is lunatique, not I.
...................................................
. <= [61] = [5+4+5+20+5+17+5] =>
.
. Ascertainlyth [E] I rIronlaweshadbrokenAndhadawakdheavnwhoclearely
. wouldhaveshow [D]{T} hatchangeofKingdomstoherdeathitowdAndthattheWo
. rldstillofher [E]{N} dmightthinkeItwouldhaveletsomeneighboringmount
. ainsinkeOrthe [V]{A} stSeaitinonustocastAsSevernedidaboutsomefiveye
. arespastOrsom [E]{S} terneComethiscurldtoptoreareWhoselengthshouldm
. easurehalfeou [R]{He} misphereHoldingthisheighttosaysomewillnotstic
. keThatnowIrav [E] a ndamgrownelunaticke
.
[E.DEVERE] 61 : = Gematria value [5+4+5+20+5+17+5]
{T.NASH/e} 61
..............................................................
Prob. of {T.NASH/e} to right of [E.DEVERE] ~ 1 in 5,000,000
------------------------------------------------------------------
In 1598 Meres placed:

*THOMAS NASH next to (grand father-in-law) SHAKESPEARE*
.....................................................
*THOMAS NASH* owned in 1642 the house next New Place in Chapel St.
. *His stone, to the right of Shakespeare's in the chancel*
. http://tinyurl.com/kevdr6g
...................................................
. ... the best for Comedy amongst vs bee,
.
_ Edward Earle of Oxforde,
.
_ Doctor Gager of Oxforde,
_ Maister Rowley once a rare Scholler of learned Pembrooke Hall,
_ Maister Edwardes one of her Maiesties Chappell,
_ eloquent and wittie Iohn Lilly,
_ Lodge,
_ Gascoyne,
......................
_ *GREENE* ,
_ *Shakespeare* ,
_ *THOMAS NASH* ,
......................
_ Thomas Heywood,
_ Anthony Mundye OUR BEST PLOTTER,
_ Chapman,
_ [PORTER],
.
_ *WILSON, HATHWAY* , and Henry Chettle.
-------------------------------------------------------------------
http://freepages.genealogy.rootsweb.com/~shakespeare/books/chambers/a...
.
William Shakespeare - A Study of The Facts & Problems
E K Chambers [Appendix A, Section]
.
RECORDS 1. CHRISTENINGS, MARRIAGES, AND BURIALS
.
1626, Apr. 22. M. Mr *THOMAS NASH* to Mrs Elizabeth Hall.
1647, Apr. 5. B. *THOMAS NASH* , Gent.
.
[His stone, to the right of Shakespeare's in the chancel, has under
the arms of *NASH* (<Az. > on a chevron between three ravens' heads
erased <arg. > a pellet between four crosses crosslet <sa. >),
quartered with Bulstrode, impaling Hall quartered with Shakespeare:
.
. HEERE RESTETH YE BODY OF THOMAS
. NASHE, ESQ. HE MAR. ELIZABETH, THE
. DAVG: & HEIRE OF IOHN HALLE, GENT.
. HE DIED APRILL 4. A. 1647, AGED 53.
.
."[FATA] manent omnes, hunc non virtute carentum
. {UT} necque divitiis, abstulit atra dies;
. Abstulit, at referet lux ultima; *SIST[E V|I}ATOR*,
. si p[E|R}itura pa[R|A}s per mal[E] {P}arta peri{S}."
...............................
. <= 9 =>
.
. *S I S T [E V] {I} A T
. O R*s i p [E] {R} i t
. u r a p a [R] {A} s p
. e r m a l [E] {P} a r
. t a p e r i {S}
.
[E/VERE] 9 : Prob. ~ 1 in 160
{SPARI} m (LATIN) of a hunting *SPEAR*
.......................................................
"[(F)ATE] (A)wai(T)ing (A)ll of this and not to be
deprived of power or wealth, has stolen a day
and taken away the last light; *STAY TRAVELER*;
As perishable ingredients may be obtained through the rocks."
---------------------------------------------------------------------
Loading Image...

1597 Woodcut deriding {T.NASHE} with *CHAINS* around his ankles.
Richard Lichfield's _The Trimming of {T}homas {NASHE}, Gentleman_.
-------------------------------------------------------------------
. Antony and Cleopatra Act 5, Scene 2
.
CLEOPATRA: Shall they hoyst me up,
. And shew me to the showting Varlotarie
. Of cen(S)uring Rom(E)? Rather a d(I)tch in Egy(P)t.
. Be gentle grave unto me, rather on *NYLUS mudd(E)*
. Lay me starke-nak'd, and let the water-Flies
. B(L)ow me into abhorring; rather make
. My Countr(I|E}s h{I}gh {P}YRAMIDES my Gibbet,
. And HANG me up *I(N) CHAINES*.
.
(NILE) -36
(PIES) -9
{PIE} -3
.............................................
*Victorious though IN CHAINS* ) "In Vinculus Invictus"
Motto in Tower Painting: http://www.gorki.net/Art/fa12.html
------------------------------------------------------------
http://www.philological.bham.ac.uk/anagrams/
.............................................
. 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* ) "In Vinculus Invictus"
Motto in Tower Painting: http://www.gorki.net/Art/fa12.html
.............................................
. HENRY WRIOTHESLEY by an anagram
. ('HERE I FALL, *THESEUS, GUILTY OF NOTHING* ')
.
http://www.philological.bham.ac.uk/anagrams/text.html
----------------------------------------------------------
. HENRICUS URIOTHESLEUS
. THESEUS NIL REUS HIC RUO
_____ per anagramma
. {CHETH} SS [UERO NIL UERIUS]
.............................................
https://en.wikipedia.org/wiki/Heth

{CHETH} is the eighth letter of the Semitic abjads.

The letter shape ultimately goes back to a hieroglyph for "courtyard."
---------------------------------------------------
(1603) Francis Davison’s
Anagrammata in Nomina Illustrissimorum Heroum
.............................................
http://www.philological.bham.ac.uk/anagrams/text.html
.
____ *EDOUDARUS V(e)IERUS*
_____ per anagramma
____ *AURE SURDUS VIDEO*
.
{A} uribus hisce licet studio, Fortuna, susurros
{PE} r[F]idiae et technas efficis esse procul,
. [A]ttamen accipio (quae mens horrescit e[T] auris)
. Rebus facta malis corpora surd[A] tenus.
. Imo etiam cerno Catilinae¶ fraude propinquos
. Funere solventes [FATA] aliena suo.

[FATA] 1,32
.............................................
_______ *EDWARD VERE*
______ by an anagram
____ *DEAF IN MY EAR, I SEE*

Though by your zeal, FORTUNE, you keep perfidy's
murmurs & schemings at a distance, nonetheless I learn
(at which my mind & ear *QUAKE*) that our bodies have
been deafened with respect to evil affairs. Indeed,
I perceive men who come close to Catiline* in deception,
freeing other men's [FATES] by their death.
--------------------------------------------------------
http://tinyurl.com/jq8h944

. This Shadowe is renowned Shakespear's?
. Soule o[F] th' [A]ge [T]he [A]pplause?
. Delight? The wonder of the Stage.
. Nature her selfe, was proud of his designs
. [A]nd joy'd to weare the dressing of his lines,
. [T]he learned will confess his works as such
. [A]s neither man, nor Muse can praise to much
. [F]or *EVER* live thy [FAME], the world to tell,
. Thy like, no age, shall *EVER* paralell

[FATA] 3 : Prob. ~ 1 in 66
----------------------------------------------------
. Romeo and Juliet (Quarto 1, 1597) The Prologue.
.
Tvvo houshold Frends alike in dignitie,
(In faire VEROna, where we lay our Scene)
From ciuill broyles broke into enmitie,
VVhose ciuill warre makes ciuill hands vncleane.
.
[F]rom forth the *[FATA]ll* loynes of these two foes,
[A] paire o{F} starre-crost Louers tooke their life:
. {VV}hose mis{A}duentures, piteous ouerthrowes,
[T]hrough the con{T}inuing of their Fathers strife,
[A]nd death-markt p{A}ssage of their Parents rage
...............
{FATA} 41
...............
Is now the two howres traffique of our Stage.
The which if you with patient EARES attend,
. {VV}hat *HERE we [WANT]* wee'l studie to amend.
----------------------------------------------------------
http://www.sourcetext.com/sourcebook/etexts/pandora/01.htm
..........................................................
PANDORA, The Musyque of the beautie of his Mistresse Diana.
Composed by John Soowthern / Gentleman,
and dedicated to the right / Honorable,
Edward Deuer, Earle / of Oxenford, & c. 1584.
...................................................
To the ryght honourable the Earle of Oxenford. & c.
...................................................
Epode #1

. No, no, the finger is his
. Alone : that in the ende must bee
. Made proude, with a garland lyke this,
. [A]nd not ev'rie ryming novice,
. [T]hat writes with small wit, and much paine:
. [A]nd the (Gods knowe) idiot in vaine,
. [F]or it's not the way to Parnasse,
. Nor it wyll neither come to passe,
. If it be not in some wis(E) fic(T)ion,
. (A)nd o(F) an ingenious invension :
. And in(F)anted with pleas(A)nt travaill,
. [F]or i(T) alone must win th(E) Laurell.
. [A]nd onelie the Poet well borne,
. [M]ust be he that goes to Parnassus :
. [A]nd not these companies of Asses,
. That have brought verce almost to scorne.
---------------------------------------------------
V E N V S A N D A D O N I S

Vilia miretur vulgus: mihi flavus Apollo
Pocula Castalia plena ministret aqua.
.....................................................
P. Ovidius Naso, Amores, Elegy 15

Vilia miretur vulgus; mihi flavus Apollo
Pocula Castalia plena ministret aqua,
Sustineamque coma metuentem (F)rigor(A) myrtu(M),
Atque (A) sollicito multus amante legar!
Pascitur in vivis Livor; post [FATA] quiescit,
Cum suus ex merito quemque tuetur honos.
Ergo etiam cum me supremus adederit ignis,
Vivam, parsque mei multa superstes erit.

(FAMA) 6
[FATA] 1
.....................................................
Ben Jonson translation:

Kneele hindes to trash: me let bright Phoebus swell,
With cups [F]ull (F)lowing from the Muses well.
(T)he frost-drad myrtle sh[A]ll imp{A}le my head,
(A)nd of s(A)d lovers Ile be often read.
(E)nvy [T]he living, not {T}he dead, doth bite.
(F)or after dea(T)h all men r[E]ceive their right.
Th{E}n when this body falls in funeral fire,
My nam(E) shall live, and my best part aspire.

[FATE] 47,53,64 : Prob. of 3[FATE]s ~ 1 in 143
------------------------------------------------------
. [ON POET-{APE}] EPIGRAMS by Ben Jonson
.
Poor *POET-APE* , that would be thought our chief,
. Whose works are {E}'en the {F}rippery of wit,
[F]rom brokage is become so bold a {T}hief,
. As we, the robb'd, le{A}ve rage, and pity it.
[A]t {F}irst he m{A}de low shifts, would pick and gle{A}n,
. Buy {T}he rEVERsion o{F} old plays ; now grown
[T]o a little wealth, and credit in th{E} scene,
. H{E} takes up all, makes each man's wit his own :
[A]nd, told o{F} this, he slights it. Tut, such crimes
. The sluggish gaping {A}uditor devours ;
. He marks not whose 'twas first : and after-{T}imes
. May judge it to be his, as well as ours.
. Fool ! as if half {E}yes will not know a fleece
. From locks of wool, or shreds from the whole piece ?

{FATE} 35,-45,46,58 : Prob. of 4{FATE}s ~ 1 in 27
---------------------------------------------------------
. Wm Shaxpere & Anna *WHATEley* of Temple Grafton
....................................................
<<There is an old English word *WHATE* ,
. meaning fortune, [FATE] , or destiny,
I think that in a desperate moment of inspiration,
confused before the clerk, Shakespeare reached into
his heart and came out with the name of that Anne
who would have been his choice, his [FATE], his destiny.>>
...................................................
. - _The Late Mr. Shakespeare_ by Robert Nye
-------------------------------------------------------------
. http://home.freeuk.net/sidsoft/pensinfo.html
.
The Sidney Family arms shows a *PORCUPINE* & a lion
. on either side of the Sidney PHEON.
.
"Whither the [FATES] call" is the meaning of Sidney's motto:
____ *QUO [FATA] VOCANT*

"Whither the [FATES] carry" is the meaning of Bermuda's motto:
____ *QUO [FATA] FERUNT*
----------------------------------------------------
. Hamlet > Act I, scene IV
.
HAMLET: My *FATE CRIES OUT* ,
. And makes each petty artery in this body
. As hardy as the Nemean lion's nERVE.
. *STILL am I CALL'D* .
----------------------------------------------------
. Sonnet 87
.
. [F]or how do I hold thee but by thy granting,
. [A]nd for that ritches where is my deSERVing?
. [T]he cause of this *FAIRE* guift in me is wanting,
. [A]nd so my pattent back againe is sweruing.
----------------------------­-------------­-----------
. . . Sonnet 70

. That thou are b{L}am'd sh{A}ll not {B}e thy d{E}fect,
. [F|O}r slanders m{A}rke was EUER yet the *(F)AIRE* ,
. The [ORN(A)MENT] of {B}eau(T)y is (SUS)pect,
. [A] Crow that fli[E]s in hea[V|E}ns swe[E]{TEST} ay[R]e.
. {SO} tho[U] be good,[S]lander d{O}th but approue,
. [T]heir *WORTH* the greater beeing woo'd of TIME,
. {F}or Canker vice the sweetest buds doth loue,
. [A]nd thou present'st a pure vnstayined prime.
. {T}hou hast past by the ambush of young daies,
. {E}ither not assayld, or victor beeing charg'd,
. Yet this thy *PRAISE* cannot be soe thy *PRAISE* ,
. To tye vp *ENUY*, EUERmore inlarged,
. If some (SUS)pect of ill *MASKT not thy show*,
. Then thou alone kingdomes of hearts shouldst owe.
....................................................
. <= 7 =>
.
. A C r o w
. t h a t f l i
. [E] s i n h e a
. [V] e n s s w e
. [E]{T E S T}a y
. [R] e{S O}t h o
. [U] b e g o o d,
. [S] l a n d e r
.................................................
. [E.VERUS] 7 : Prob. in any Sonnet ~ 1 in 55
.................................................
__ <= 35 =>
.
. t h ouareb {L} amd s h{A}llnot{B}et h y d{E}fect[F|O}rs
. l a ndersm {A} rke w a s EUERy e tt h e(F)A IRET h e OR
. N(A)MENTof {B} eau(T)y i sSUSp e ct[A]C r o wtha t f li
. e s inheau {E} nss w e e testa y re.S o t h oube g o od
. s l anderd {O} thb u t a pprou e
.
{LABEO} 6,35 : Prob. 2{LABEO}s start any Sonnet ~ 1 in 740
(FATA) 11
.........................................................
. *John Marston* Satire note:
.
. So {LABEO} did complain his love was *STONE*,
. Obdurate, flinty, so relentless none:
. Yet Lynceus knows that in the end of this
. He wrought as *STRANGE a metamorphosis*.
-----------------------------------------------------------
____ SONNET 60
.
. LIke as the waues make towards the pibled shore,
. So do our minuites hasten to [T]heir end,
. Each [C]hanging plac[E] with that whi[C]h goes before,
. [I]n sequent toi[L]e all forwards do contend.
. Natiuity once in the maine of light.
. Crawles to maturity, wherewith being crown'd,
. *CROOKED ECLIPSES* gainst his glory fight,
. [A]nd time that gaue, doth now his gift confound.
. [T]ime doth transfixe the florish set on youth,
. [A]nd delues the paralels in beauties brow,
.([F]EEDE)s on the rarities of natures *TRUTH* ,
. And nothing stands but for his sieth to mow.
. And yet to times in hope, my verse shall stand
. Praising thy *WORTH*, dispight his cruell hand.
................................................
___ <= 12 =>

. S o d o o u r m i n u (I)
. t e s h a s t e n t o [T]
. h e i r e n d,E a c h [C]
. h a n g i n g p l a c [E]
. w i t h t h a t w h i [C]
. h g o e s b e f o r e,[I]
. n s e q u e n t t o i [L]
. e a l l f o r w a r d s
. d o c o n t e n d.

[T.CECIL] 12 prob. in Sonnets ~ 1 in 67
................................................
[T]homas [CECIL]: only Garter vote for Oxford.
President of the Council of the NORTH: 1599–1603

Robert CECIL: *CROOKED ECLIPSES* ?
----------------------------------------------------------------
http://socrates.berkeley.edu/~ahnelson/ARMADA/1589Engl.html

Armada Pamphlets Commissioned by Burghley

An Answer to the vntruthes, pvblished and printed in Spaine, in glorie
of their svpposed victorie atchieued against our English Navie, and
the Right Honorable Charles Lord Howard, Lord high Admiral of England,
&c. Sir Francis Drake, and the rest of the Nobles and Gentlemen,
Captaines, and Soldiers of our said Navie. First written and published
in Spanish By a Spanish Gentleman; who came hither out of the Lowe
Countries from the service of the prince of Parma, with his wife
and familie, since the overthrowe of the Spanish Armada, forsaking
both his countrie and Romish religion; as by this Treatise
(against the barbarous impietie of the Spaniards; and
dedicated to the Queenes most excellent Majestie, may appeere.

Faithfully translated by I. L. [Ihon Lyllie?/Iames Leigh?]

London, Printed by Iohn Iackson, for Thomas Cadman. 1589.
.....................................................
. (L. Admirall)
. The Admirall with Lion on his creast,
. {l}ike to {A}lcides on the strond o{F} Troy:
. [A]rmd at {A}ssaie, to ba{T}tell is addre{A}st:
. [T]he sea that sawe his frownes, w{A}xt calme and coy,
. [A]s when that Neptune with three{F}orked mase,
. [F]or Trojans sake, did keepe the winds in chase.

{FATA} 11,-40
.....................................................
. (Earle of Oxford)
. De-Vere whose *FAME* , and loyaltie hath pearst,
. The Tuscan clime, and through the Belgike lands,
. By winged *FAME* , for valor is rehearst:
. Like warlike Mars upon the hatches stands,
. His tusked Bore gan fome for inwarde ire,
. While *PALLAS* fild his breast, with warlike fire.
-------------------------------------------------
Art Neuendorffer
nordicskiv2
2017-12-09 13:51:38 UTC
Permalink
On Friday, December 8, 2017 at 11:40:44 PM UTC-5, Arthur Neuendorffer (aka Noonedafter) wrote:

[Endlessly repetitive lunatic logorrhea snipped]
Post by Arthur Neuendorffer
. Sonnet 76 : 4 X 19 (Metonic cycle)
.
. <= 19 =>
.
. E V E R {T} h e s a m e[A]n d k(E|E)p e
. i n u(E){N}(T)i o n i n a*N O T(E)D W(E)
. E D*T h {A}(T)E V E R y w o r(D|D]o t h
. a l m o {S}(T)F E L m[Y]n a m<E>S h e w
. i n g t {H}[E]i r b i r t h a n d w h e
. [R]e t h {E} y(D)i d p r o c e[E]d
.
{T.NASHE} 19 Prob. in Sonnet 76 ~ 1 in 450
[only *TNASHE* in Sonnets of any skip!]
Then it isn't likely to be of any significance, Art.

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
. <= 2 X 19 =>
.
. LadyClaraVeredeVereYouput *(S) {T} RANGE* memori
. esinmyheadNotthriceyourbr (A) {N} ching linesh
. aveblownSinceIbeheldyoung (L) {A} urenc edeadO
. yoursweeteyesyourlowrepli (E) {S} Agrea tencha
. ntressyoumaybeButtherewas (T) {H} atacr osshis
. throatWhichyouhadhardlyca r {E} dtose e
{T.NASHE} 38 : Prob. ~ 1 in 130
(TELAS) -38 : Web (Latin)
No, Art; the Latin word is _tela_. _Telas_ is the accusative plural, which makes no sense whateVER without any VERb. Not that one is surprised -- complete nonsense is the mainstay of virtually all your posts.

I feel reasonably sure that George Mason Elementary endeavored to teach you English, Art -- unsuccessfully, of course -- but I doubt that they tried to teach you Latin.
Post by Arthur Neuendorffer
. Sonnet 76 (1609)
.
. WHy is my verse so barren of new pride?
. So far from variation or quicke *CHANGE*?
. Why with the time do I not glance aside
. {T}o new found methods, and to compounds *STRANGE*?
. {W}hy write I still all one, [EVER] the same,
. {A}nd keepe inuention in a *NOT{ED WEED}*,
. {T}hat {EVERy WORD} [D]oth almost fel {M[Y] NAME},
. {S}hewing th[E]ir birth, and whe[R]e {T}hey did proce[E]d?
. {O} k{N}ow sweet love I alw{A}ies writ[E] of you,
. So (A)ll my best is dressing old words new,
. For as the Sun is daily new and old,
. So is my loue still telling what is told,
...................................................
[T.WATSO\n\] Acrostic
That's not an acrostic, Art -- as usual.

I have long lamented the failure of George Mason Elementary to teach you to count, say, to ten, but it is a little surprising that you didn't even manage to learn to count to *one*!

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
. <= [61] = [5+4+5+20+5+17+5] =>
.
. Ascertainlyth [E] I rIronlaweshadbrokenAndhadawakdheavnwhoclearely
. wouldhaveshow [D]{T} hatchangeofKingdomstoherdeathitowdAndthattheWo
. rldstillofher [E]{N} dmightthinkeItwouldhaveletsomeneighboringmount
. ainsinkeOrthe [V]{A} stSeaitinonustocastAsSevernedidaboutsomefiveye
. arespastOrsom [E]{S} terneComethiscurldtoptoreareWhoselengthshouldm
. easurehalfeou [R]{He} misphereHoldingthisheighttosaysomewillnotstic
. keThatnowIrav [E] a ndamgrownelunaticke
.
[E.DEVERE] 61 : = Gematria value [5+4+5+20+5+17+5]
{T.NASH/e} 61
The latter is not an equidistant letter sequence, Art -- as usual.

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
. <= 9 =>
.
. *S I S T [E V] {I} A T
. O R*s i p [E] {R} i t
. u r a p a [R] {A} s p
. e r m a l [E] {P} a r
. t a p e r i {S}
.
[E/VERE] 9
That's not an equidistant letter sequence, Art -- as usual.

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
. HENRICUS URIOTHESLEUS
. THESEUS NIL REUS HIC RUO
_____ per anagramma
. {CHETH} SS [UERO NIL UERIUS]
"CHETH [sic] SS [sic] UERO NIL UERIUS" is moronic nonsense, Art -- as usual.

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
____ *EDOUDARUS V(e)IERUS*
_____ per anagramma
____ *AURE SURDUS VIDEO*
That's not an anagram, Art -- as usual.

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
. Romeo and Juliet (Quarto 1, 1597) The Prologue.
.
Tvvo houshold Frends alike in dignitie,
(In faire VEROna, where we lay our Scene)
From ciuill broyles broke into enmitie,
VVhose ciuill warre makes ciuill hands vncleane.
.
[F]rom forth the *[FATA]ll* loynes of these two foes,
. {VV}hose mis{A}duentures, piteous ouerthrowes,
[T]hrough the con{T}inuing of their Fathers strife,
[A]nd death-markt p{A}ssage of their Parents rage
...............
{FATA} 41
That's neither an anagram nor an equidistant letter sequence, Art -- as usual.

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
Epode #1
. No, no, the finger is his
If you're suggesting that Oxford should be given the finger, then I don't disagree with you, Art.

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
Kneele hindes to trash: me let bright Phoebus swell,
With cups [F]ull (F)lowing from the Muses well.
(T)he frost-drad myrtle sh[A]ll imp{A}le my head,
(A)nd of s(A)d lovers Ile be often read.
(E)nvy [T]he living, not {T}he dead, doth bite.
(F)or after dea(T)h all men r[E]ceive their right.
Th{E}n when this body falls in funeral fire,
My nam(E) shall live, and my best part aspire.
[FATE] 47,53,64
That's not an acrostic, Art -- as usual.

[Lunatic logorrhea snipped]
But Art -- "Iohn Marston's satire" is an anagram of "Art's insane shit-room", which is what you have transformed h.l.a.s. into!

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
-------------------------------------------------
Art Neuendorffer (aka Noonedafter)
Arthur Neuendorffer
2017-12-09 15:53:59 UTC
Permalink
----------------------------------------------------------------------
https://en.wikipedia.org/wiki/Matthew_Concanen#An_Essay_Against_Too_Much_Reading

<<Matthew Concanen (1701 – 22 January 1749) was a writer, poet & lawyer born in Ireland He criticised Alexander Pope and was rewarded with a passage in Pope's Dunciad ridiculing him as "A cold, long-winded native of the deep" (Dunciad, ii. 299-304). He was co-author of The history and antiquities of the parish of St. Saviour's, Southwark.

The 1728 anonymous pamphlet, An Essay Against Too Much Reading, has been attributed to Concanen, though it has also been identified (probably wrongly) as the work of a certain "Captain Goulding" (Thomas Goulding) of Bath. The author proposed "a short account of Mr Shakespeare's proceeding, and that I had from one of his intimate acquaintance..." Shakespeare is described as merely a collaborator who "in all probability cou'd not write English." With regard the Bard's grasp of history, the Essay related that Shakespeare "not being a scholar" employed a "chuckle-pated historian" who gave him a set of notes to save the trouble of research. The historian also corrected his grammar.>>
------------------------------------------------
. THE STORY OF THE LEARNED PIG
. As related by himself to the Author
. of the following letter.
.
Dear Sir,
.
. I have the pleasure to be v[E]ry
. intimate with the man w[H]o shews
. th(E) learned pig at[S]adl(E)r’s We(L)ls.
. As (I) was o(N)e d[A]y sitting (I)n
. his parlour, a[N]d no perso(N) in
. the house bu[T] myself, I was alarmed by a gentle
. rap at the door, which I immediately opened, and
. discovered the learned pig erect on his hinder legs,
. and bowing very gracefully with his head and body.
....................................................
. <= 22 =>
.
. I h a v e t h e p l e a s u r e t o b e v [E]
. r y i n t i m a t e w i t h t h e m a n w [H]
. o s h e w s t h (E) l e a r n e d p i g a t [S]
. a d l(E)r’s W e (L) l s.A s(I)w a s o(N)e d [A]
. y s i t t i n g (I) n h i s p a r l o u r,a [N]
. d n o p e r s o (N) i n t h e h o u s e b u [T]
. m y s e l f,

[T.NASHE] -22 : Prob. in first 2 sent. ~ 1 in 410
(NILE) -22,-5
---------------------------------------------------
. *STRANGE* Newes, 1592 by {T}homas {NASHE}
. Printed at London by *{I}ohn {DANTER}*, 1592.
...................................................
. Sonnet 76 : 4 X 19 (Metonic cycle)
.
. <= 19 =>
.
. E V E R {T} h e s a m e[A]n d k(E|E)p e
. i n u(E){N}(T)i o n i n a*N O T(E)D W(E)
. E D*T h {A}(T)E V E R y w o r(D|D]o t h
. a l m o {S}(T)F E L m[Y]n a m<E>S h e w
. i n g t {H}[E]i r b i r t h a n d w h e
. [R]e t h {E} y(D)i d p r o c e[E]d
.
{T.NASHE} 19 Prob. in Sonnet 76 ~ 1 in 450
[only *TNASHE* in Sonnets of any skip!]
------------------------------------------------------------------
Lea wrote: <<Then it isn't likely to be of any significance, Art.>>

Not in and off itself, perhaps.

But Sonnet 76 was already VERy important:
----------------------------------------------------------
. Sonnet 76 (1609)
.
. WHy is my verse so barren of new pride?
. So far from variation or quicke *CHANGE*?
. Why with the time do I not glance aside
. {T}o new found methods, and to compounds *STRANGE*?
. {W}hy write I still all one, [EVER] the same,
. {A}nd keepe inuention in a *NOT{ED WEED}*,
. {T}hat {EVERy WORD} [D]oth almost fel {M[Y] NAME},
. {S}hewing th[E]ir birth, and whe[R]e {T}hey did proce[E]d?
. {O} k{N}ow sweet love I alw{A}ies writ[E] of you,
. A\n\{D} (Y)ou an[D] love are s(T|I|L)l my argument:
. So (A)ll my best is dressing old words new,
. Spending againe what is already spent:
. For as the Sun is daily new and old,
. So is my loue still telling what is told,
...................................................
[T.WATSO\n\] Acrostic Prob. ~ 1 in 5500
....................................................
Meres: "As {I|TALY) had {DANTE}, Boccace, Petrarch, ...
so England had {T}homas {WATSO\n\}, Thomas Kid, ..."
................................................
____ <= 15 =>
.
(N O T){E D W E E D}(T) h A T {E V
. E R y w o r D}[D](O) t h a l m o
. S T F E L {M [Y](N) A M E},S h e w
. i n g t H [E] I r b i r t h a n
. (D) w h e [R] e {T} h E y D i d p r
. (O) c e [E D] O K {N} o w s w e E t
. (L) o [V E] I a l w {A} i e s w r i
. (T)[E] o f y o u A n {D}(Y) o u a n
. [D] l O v E a r e s (T){I}(L) l m y
. a r g u m e n t: S o (A) l l m y
..................................................
{I.DANTE/R} skip -16 {found by James Ferris}
(DOLT) skip 15
..................................................
[DEVERE] skip -14 {found by James Ferris}
[DYER] skip 14 {found by A.W.Burgstahler}
[DYEREVED] Prob. in any Sonnet ~ 1 in 3,000
---------------------------------------------------------
{T.NASHE}'s _Haue with you to Saffron-walden_ was
printed at London by {I}ohn {DANTE/R} in 1596 when
{T.NASHE} was living with Mr. & Mrs. {I}ohn {DANTE/R}
.......................................................
{T.NASHE}'s _Haue with you to Saffron-walden_ (1596)

"Page, hee beginnes with one 100. againe to make it seeme little,
(if I lye you may look and conuince mee); & in halfe a quire of
paper besides, hath left the Pages vnfigured. I haue read that
the Gian[T] A[N]t[A]u[S] S[H]i[E]ld askt a whole Elephants
hyde to couer it, bona fide I v [...]ter it, scarce a
whole Elephants hyde & a half would serue for a couer"
..................................................
. Othello (Quarto 1, 1622) last scene
.
Emillia: Thou hast not halfe the power to doe me harme,
. As I haue to be hurt: O gull, O (DOLT),
----------------------------------------------------
Alfred, Lord Tennyson (1809–1892)

Lady Clara Vere de Vere,
You put *(S){T}RANGE* memories in my head.
Not thrice your bra(A){N}ching lines have blown
Since I beheld young (L){A}urence dead.
O your sweet eyes, your low repli(E){S}:
A great enchantress you may be;
But there was (T)H}at across his throat
Which you had hardly car{E}d to see.
...................................................
. <= 2 X 19 =>
.
. LadyClaraVeredeVereYouput *(S) {T} RANGE* memori
. esinmyheadNotthriceyourbr (A) {N} ching linesh
. aveblownSinceIbeheldyoung (L) {A} urenc edeadO
. yoursweeteyesyourlowrepli (E) {S} Agrea tencha
. ntressyoumaybeButtherewas (T) {H} atacr osshis
. throatWhichyouhadhardlyca r {E} dtose e

{T.NASHE} 38 : Prob. ~ 1 in 130
(TELAS) -38 : Web (Latin)
----------------------------------------------------
Lea wrote: <<_Telas_ is the accusative plural,
which makes no sense whateVER without any VERb.>>

But I'm accusing all of you Freemasons:
--------------------------------------------------------------
Do tell us all about. As we want to hear allabout. So TELLUS
*TELLAS* allabouter. The why or whether she looked alottylike
like ussies and whether he had his wimdop like themses shut?
-------------------------------------------------------
Only explicit mention of [MASON]s in [MASON] Ma.Twain:
.......................................................
. A Tramp Abroad (1880)
.
"What’s your father’s religious denominatio[N]?"
.
"Hi{M}? [O]h, he’[S] {A} bl[A]ck{S}[M]ith."
.
"N{O}, no—I do{N}'t mean his trade.
. What’s his RELIGIOUS DENOMINATION?"
.
"OH—I didn't understand you befo'. He’s a Free{MASON}."
......................................................
. <= 6 =>
.
. f a t h e r
. ’s r e l i g
. i o u s d e
. n o m i n a
. t i o [N] H i
. {M}[O] h, h e'[S]
. {A} b l [A] c k
. {S}[M] i t h."N
. {O},n o —I d o
. {N}'t m e a n
. h i s t r a
. d e.
.
[MASON] -4
{MASON} 1,6 : Prob. of 2[MASON]s skip<7 ~ 1 in 124,000
---------------------------------------------------------
Lea wrote:

<<I feel reasonably sure that George Mason Elementary endeavored to teach you English, Art -- unsuccessfully, of course -- but I doubt that they tried to teach you Latin.

They did teach me cursive...and I'm really tempted, BELIEVE ME!
Post by Arthur Neuendorffer
. Sonnet 76 (1609)
.
. WHy is my verse so barren of new pride?
. So far from variation or quicke *CHANGE*?
. Why with the time do I not glance aside
. {T}o new found methods, and to compounds *STRANGE*?
. {W}hy write I still all one, [EVER] the same,
. {A}nd keepe inuention in a *NOT{ED WEED}*,
. {T}hat {EVERy WORD} [D]oth almost fel {M[Y] NAME},
. {S}hewing th[E]ir birth, and whe[R]e {T}hey did proce[E]d?
. {O} k{N}ow sweet love I alw{A}ies writ[E] of you,
. So (A)ll my best is dressing old words new,
. For as the Sun is daily new and old,
. So is my loue still telling what is told,
...................................................
[T.WATSO\n\] Acrostic
--------------------------------------------------------
Lea wrote: <<That's not an acrostic, Art.>>

It pretty clearly indicates Thomas Watson, Dave:
-------------------------------------------------------------
https://quod.lib.umich.edu/e/eebo/A14822.0001.001?rgn=main;view=fulltext

The hekatompathia or Passionate centvrie of love divided into two parts:
whereof, the fir(S)t expresseth the avth(O)rs svfferance in love:
(T)he latter, his long far(E)well to love and all hi(S) tyrannie.
Composed by (T)homas Watson Gentleman; and pvblished
at the reqvest of certaine gentlemen his *VERY* frendes.
.
(SO TEST) 19 : Prob. ~ 1 in 500
.................................................
. Only Latin Hekatompathia sonnet: XLV
.
The Authour vseth in this Passion the like sense to that which
he had in the last before it, calling his Mistres a Second
Sunne vpon earth, wherewith Heauen it selfe is become in Loue:
But when he compiled this Sonnet, he thought not to
haue placed it amongst these his English toyes.
.................................................
. FOelices alij iuuenes, quos blandula Cypris
. Aptos fecit amoribus,
. Exoptare solent tenebrosa crepuscula noctis,
. Aurorae maledicere:
. At multo est mihi chara magis pulcherrima coniux
. Tythoni gelidi senis,
. Dum venit in prima surgentis parte diei,
. Et Soles geminos mihi
.
. Apperit, & moesto foelices reddit ocellos,
. Quòd Soles videa[M] duos,
. Qui simili form[A], simili sic luce coru[S]can{T},
. E(T) mittunt radi[O]s par{ES},
.(UT) Polus ipse [N]ouo Te{R}r{A}e laqueatu[S] amore
. F•• n{M}is inuideat meis,
.
. Solis & ignoto se torreat igne secundi,
. Oblitus decoris sui,
. Haud secus at{que} olim, Cum veris prima venustas
. Multo flore superbijt,
. Et nitidos primùm strophijs ornâre capillos
. Pulchri Naïadum chori.
..................................................
. <= 19 =>
.
. A p p e r i t&m o e s t o f o e l i c
. e s r e d d i t o c e l l o s,Q u ò d
. S o l e s v i d e a[M]d u o s,Q u i s
. i m i l i f o r m[A]s i m i l i s i c
. l u c e c o r u[S]c a n{T}E(T)m i t t
. u n t r a d i[O]s p a r{E S|U T)P o l
. u s i p s e[N]o u o T e{R}r{A}e l a q
. u e a t u[S]a m o r e F • • n{M}i s i
. n u i d e a t m e i s,
.
[MASONS] 18 : Prob. in only Latin sonnet ~ 1 in 1130
-------------------------------------------------------
http://quod.lib.umich.edu/e/eebo/A73861.0001.001/1:12?rgn=div1;view=fulltext

ELEGIES VP ON SVNDRY OCCASIONS
Of his Ladies not Comming to London.
By *MICHAELL DRAYTON*, Esquire.

LONDON, Printed by A. M. for WILLIAM LEE, and are to be sold at the
*TURKES* Head in Fleete-Streete, next to the Miter and Phaenix. 1631.
.......................................................
But when the unpittying [FATES] her end decreed,
They to the same did instantly proceed,
For well they knew (if she had languish'd so)
As those which hence by naturall causes goe,
So many prayers and teares for her had spoken,
As certainly th[E|I)r Iron lawes had broken,
And had awak'd heav'n, who clearely would have show'[D]
{T}hat change of Kingdoms to her death it ow'd,
And that the World still of her [E|N}d might thinke,
It would have let some neighboring mountain sinke
Or the [V|A}st Sea it in on us to cast,
As Severne did about some five yeares past:
Or som[E] {S}terne Comet his curld top to reare,
Whose length should measure halfe ou[R] {HE}misphere,
Holding this height, to say some will not sticke,
That now I rav[E], and am growne lunaticke:
You of what sexe so ere you be, you lye,
'Tis thou thy selfe is lunatique, not I.
...................................................
. <= [61] = [5+4+5+20+5+17+5] =>
.
. Ascertainlyth [E] I rIronlaweshadbrokenAndhadawakdheavnwhoclearely
. wouldhaveshow [D]{T} hatchangeofKingdomstoherdeathitowdAndthattheWo
. rldstillofher [E]{N} dmightthinkeItwouldhaveletsomeneighboringmount
. ainsinkeOrthe [V]{A} stSeaitinonustocastAsSevernedidaboutsomefiveye
. arespastOrsom [E]{S} terneComethiscurldtoptoreareWhoselengthshouldm
. easurehalfeou [R]{He} misphereHoldingthisheighttosaysomewillnotstic
. keThatnowIrav [E] a ndamgrownelunaticke
.
[E.DEVERE] 61 : = Gematria value [5+4+5+20+5+17+5]
{T.NASH/e} 61
..............................................................
Prob. of {T.NASH/e} to right of [E.DEVERE] ~ 1 in 5,000,000
-------------------------------------------------------------------
Lea wrote:

<<The latter is not an equidistant letter sequence, Art.>>

Those illiterate Stratford boobs weren't quite sure how to spell {T.NASH/e}:
------------------------------------------------------------------
In 1598 Meres placed:

*THOMAS NASH next to (grand father-in-law) SHAKESPEARE*
.....................................................
*THOMAS NASH* owned in 1642 the house next New Place in Chapel St.
. *His stone, to the right of Shakespeare's in the chancel*
. http://tinyurl.com/kevdr6g
...................................................
. ... the best for Comedy amongst vs bee,
.
_ Edward Earle of Oxforde,
.
_ Doctor Gager of Oxforde,
_ Maister Rowley once a rare Scholler of learned Pembrooke Hall,
_ Maister Edwardes one of her Maiesties Chappell,
_ eloquent and wittie Iohn Lilly,
_ Lodge,
_ Gascoyne,
......................
_ *GREENE* ,
_ *Shakespeare* ,
_ *THOMAS NASH* ,
......................
_ Thomas Heywood,
_ Anthony Mundye OUR BEST PLOTTER,
_ Chapman,
_ [PORTER],
.
_ *WILSON, HATHWAY* , and Henry Chettle.
-------------------------------------------------------------------
http://freepages.genealogy.rootsweb.com/~shakespeare/books/chambers/a...
.
William Shakespeare - A Study of The Facts & Problems
E K Chambers [Appendix A, Section]
.
RECORDS 1. CHRISTENINGS, MARRIAGES, AND BURIALS
.
1626, Apr. 22. M. Mr *THOMAS NASH* to Mrs Elizabeth Hall.
1647, Apr. 5. B. *THOMAS NASH* , Gent.
.
[His stone, to the right of Shakespeare's in the chancel, has under
the arms of *NASH* (<Az. > on a chevron between three ravens' heads
erased <arg. > a pellet between four crosses crosslet <sa. >),
quartered with Bulstrode, impaling Hall quartered with Shakespeare:
.
. HEERE RESTETH YE BODY OF THOMAS
. NASHE, ESQ. HE MAR. ELIZABETH, THE
. DAVG: & HEIRE OF IOHN HALLE, GENT.
. HE DIED APRILL 4. A. 1647, AGED 53.
.
."[FATA] manent omnes, hunc non virtute carentum
. {UT} necque divitiis, abstulit atra dies;
. Abstulit, at referet lux ultima; *SIST[E V|I}ATOR*,
. si p[E|R}itura pa[R|A}s per mal[E] {P}arta peri{S}."
...............................
. <= 9 =>
.
. *S I S T [E V] {I} A T
. O R*s i p [E] {R} i t
. u r a p a [R] {A} s p
. e r m a l [E] {P} a r
. t a p e r i {S}
.
[E/VERE] 9 : Prob. ~ 1 in 160
{SPARI} m (LATIN) of a hunting *SPEAR*
.......................................................
"[(F)ATE] (A)wai(T)ing (A)ll of this and not to be
deprived of power or wealth, has stolen a day
and taken away the last light; *STAY TRAVELER*;
As perishable ingredients may be obtained through the rocks."
---------------------------------------------------------------
Lea wrote:

<<[E/VERE] 9 is not an equidistant letter sequence, Art.>>

[VERE] 90 is.
Post by Arthur Neuendorffer
. HENRICUS URIOTHESLEUS
. THESEUS NIL REUS HIC RUO
_____ per anagramma
. {CHETH} SS [UERO NIL UERIUS]
Lea wrote:

<<"CHETH [sic] SS [sic] UERO NIL UERIUS" is moronic nonsense, Art.>>

*CHETH* is *Perfect ASHLAR*
--------------------------------------------------
__ Waite's 'Chariot' TAROT card
__ http://jktarot.com/chariotser.html
.
<<The Charioteer is NOT riding in the Chariot, but is SET
in the cubic stone of the Chariot. *The stone & 8-pointed*
*STAR* on the Charioteer's head refer to the same idea:
.
_ the cube is 2 'cubed' *or 8 : the number of HETH*
.
___ the kabbalistic number of this card but
___ also refers to the Masonic *Perfect ASHLAR*
.
In Speculative Masonry an *ASHLAR* is freestone as it comes out
of the quarry. So, a *rough ASHLAR* is a stone in its 'rude &
unpolished' condition that is IGNORANT, uncultivated & vicious man.
But after one is 'smoothed & polished' by education and one learns
to restrain (or 'temper') ones passions, he is represented by the
*Perfect ASHLAR* , the smoothed and squared stone, fitted into
its place in the building (the temple). Or in the Chariot.>>
----------------------------------------------------
http://www.castles-abbeys.co.uk/Hedingham-Castle.html
.
<<Aubrey II was responsible for building the great keep
at Hedingham, using the Archbishop of Canterbury, William
de Corbeuil as his architect. The keep is faced with
*ASHLAR STONE* which had to be transported all the
way from the quarries of Barnack, Northamptonshire.>>
-------------------------------------------------------
_ Full many a glorious morning have I seen
_ Flatter the mountain tops with *soVEREign Eye*
.
____ <= SONNET 33 =>
.
__ /T/ O {T} [H] (E) ON(L)I[E]B)EG(E)T[T]E)RO(F)T[H]ESEIN[S]VINGS
_-/O/ NN [E T] SMR{W}HALL[H]{A}PPINE{S}S[E]AND{T}HATE[T]{E}
_/R/ NI__ [T{I}E] *PROMISED* BYOVREVERLIVINGPOET
/W/ IS_ [H E T H] *THE* WELLWISHINGADVENTVRERIN
___________________________ SETTINGFORTH-TT
-------------------------------------------------------
https://en.wikipedia.org/wiki/Heth

{CHETH} is the eighth letter of the Semitic abjads.

The letter shape ultimately goes back to a hieroglyph for "courtyard."
------------------------------------------------------------------
(1603) Francis Davison’s
Anagrammata in Nomina Illustrissimorum Heroum
.............................................
http://www.philological.bham.ac.uk/anagrams/text.html
.
____ *EDOUDARUS V(e)IERUS*
_____ per anagramma
____ *AURE SURDUS VIDEO*
.
{A} uribus hisce licet studio, Fortuna, susurros
{PE} r[F]idiae et technas efficis esse procul,
. [A]ttamen accipio (quae mens horrescit e[T] auris)
. Rebus facta malis corpora surd[A] tenus.
. Imo etiam cerno Catilinae¶ fraude propinquos
. Funere solventes [FATA] aliena suo.

[FATA] 1,32
.............................................
_______ *EDWARD VERE*
______ by an anagram
____ *DEAF IN MY EAR, I SEE*

Though by your zeal, FORTUNE, you keep perfidy's
murmurs & schemings at a distance, nonetheless I learn
(at which my mind & ear *QUAKE*) that our bodies have
been deafened with respect to evil affairs. Indeed,
I perceive men who come close to Catiline* in deception,
freeing other men's [FATES] by their death.
--------------------------------------------------------
Post by Arthur Neuendorffer
____ *EDOUDARUS V(e)IERUS*
_____ per anagramma
____ *AURE SURDUS VIDEO*
Lea wrote: <<That's not an anagram, Art.>>

Tell it to Francis Davison, Dave.
----------------------------------------------------
. Romeo and Juliet (Quarto 1, 1597) The Prologue.
.
Tvvo houshold Frends alike in dignitie,
(In faire VEROna, where we lay our Scene)
From ciuill broyles broke into enmitie,
VVhose ciuill warre makes ciuill hands vncleane.
.
[F]rom forth the *[FATA]ll* loynes of these two foes,
[A] paire o{F} starre-crost Louers tooke their life:
. {VV}hose mis{A}duentures, piteous ouerthrowes,
[T]hrough the con{T}inuing of their Fathers strife,
[A]nd death-markt p{A}ssage of their Parents rage
...............
{FATA} 41
...............
Is now the two howres traffique of our Stage.
The which if you with patient EARES attend,
. {VV}hat *HERE we [WANT]* wee'l studie to amend.
----------------------------------------------------------
Lea wrote:

<<That's neither an anagram nor an equidistant letter sequence, Art.>>

It's VERy nearly a {FATA}ccompli, Dave:
--------------------------------------------------------
http://tinyurl.com/jq8h944

. This Shadowe is renowned Shakespear's?
. Soule o[F] th' [A]ge [T]he [A]pplause?
. Delight? The wonder of the Stage.
. Nature her selfe, was proud of his designs
. [A]nd joy'd to weare the dressing of his lines,
. [T]he learned will confess his works as such
. [A]s neither man, nor Muse can praise to much
. [F]or *EVER* live thy [FAME], the world to tell,
. Thy like, no age, shall *EVER* paralell

[FATA] 3 : Prob. ~ 1 in 66
----------------------------------------------------------
http://www.sourcetext.com/sourcebook/etexts/pandora/01.htm
..........................................................
PANDORA, The Musyque of the beautie of his Mistresse Diana.
Composed by John Soowthern / Gentleman,
and dedicated to the right / Honorable,
Edward Deuer, Earle / of Oxenford, & c. 1584.
...................................................
To the ryght honourable the Earle of Oxenford. & c.
...................................................
Epode #1

. No, no, the finger is his
. Alone : that in the ende must bee
. Made proude, with a garland lyke this,
. [A]nd not ev'rie ryming novice,
. [T]hat writes with small wit, and much paine:
. [A]nd the (Gods knowe) idiot in vaine,
. [F]or it's not the way to Parnasse,
. Nor it wyll neither come to passe,
. If it be not in some wis(E) fic(T)ion,
. (A)nd o(F) an ingenious invension :
. And in(F)anted with pleas(A)nt travaill,
. [F]or i(T) alone must win th(E) Laurell.
. [A]nd onelie the Poet well borne,
. [M]ust be he that goes to Parnassus :
. [A]nd not these companies of Asses,
. That have brought verce almost to scorne.
---------------------------------------------------
V E N V S A N D A D O N I S

Vilia miretur vulgus: mihi flavus Apollo
Pocula Castalia plena ministret aqua.
.....................................................
P. Ovidius Naso, Amores, Elegy 15

Vilia miretur vulgus; mihi flavus Apollo
Pocula Castalia plena ministret aqua,
Sustineamque coma metuentem (F)rigor(A) myrtu(M),
Atque (A) sollicito multus amante legar!
Pascitur in vivis Livor; post [FATA] quiescit,
Cum suus ex merito quemque tuetur honos.
Ergo etiam cum me supremus adederit ignis,
Vivam, parsque mei multa superstes erit.

(FAMA) 6
[FATA] 1
.....................................................
Ben Jonson translation:

Kneele hindes to trash: me let bright Phoebus swell,
With cups [F]ull (F)lowing from the Muses well.
(T)he frost-drad myrtle sh[A]ll imp{A}le my head,
(A)nd of s(A)d lovers Ile be often read.
(E)nvy [T]he living, not {T}he dead, doth bite.
(F)or after dea(T)h all men r[E]ceive their right.
Th{E}n when this body falls in funeral fire,
My nam(E) shall live, and my best part aspire.

[FATE] 47,53,64 : Prob. of 3[FATE]s ~ 1 in 143
------------------------------------------------------
. [ON POET-{APE}] EPIGRAMS by Ben Jonson
.
Poor *POET-APE* , that would be thought our chief,
. Whose works are {E}'en the {F}rippery of wit,
[F]rom brokage is become so bold a {T}hief,
. As we, the robb'd, le{A}ve rage, and pity it.
[A]t {F}irst he m{A}de low shifts, would pick and gle{A}n,
. Buy {T}he rEVERsion o{F} old plays ; now grown
[T]o a little wealth, and credit in th{E} scene,
. H{E} takes up all, makes each man's wit his own :
[A]nd, told o{F} this, he slights it. Tut, such crimes
. The sluggish gaping {A}uditor devours ;
. He marks not whose 'twas first : and after-{T}imes
. May judge it to be his, as well as ours.
. Fool ! as if half {E}yes will not know a fleece
. From locks of wool, or shreds from the whole piece ?

{FATE} 35,-45,46,58 : Prob. of 4{FATE}s ~ 1 in 27
---------------------------------------------------------
. Wm Shaxpere & Anna *WHATEley* of Temple Grafton
....................................................
<<There is an old English word *WHATE* ,
. meaning fortune, [FATE] , or destiny,
I think that in a desperate moment of inspiration,
confused before the clerk, Shakespeare reached into
his heart and came out with the name of that Anne
who would have been his choice, his [FATE], his destiny.>>
...................................................
. - _The Late Mr. Shakespeare_ by Robert Nye
-------------------------------------------------------------
. http://home.freeuk.net/sidsoft/pensinfo.html
.
The Sidney Family arms shows a *PORCUPINE* & a lion
. on either side of the Sidney PHEON.
.
"Whither the [FATES] call" is the meaning of Sidney's motto:
____ *QUO [FATA] VOCANT*

"Whither the [FATES] carry" is the meaning of Bermuda's motto:
____ *QUO [FATA] FERUNT*
----------------------------------------------------
. Hamlet > Act I, scene IV
.
HAMLET: My *FATE CRIES OUT* ,
. And makes each petty artery in this body
. As hardy as the Nemean lion's nERVE.
. *STILL am I CALL'D* .
----------------------------------------------------
. Sonnet 87
.
. [F]or how do I hold thee but by thy granting,
. [A]nd for that ritches where is my deSERVing?
. [T]he cause of this *FAIRE* guift in me is wanting,
. [A]nd so my pattent back againe is sweruing.
----------------------------­-------------­-----------
. . . Sonnet 70

. That thou are b{L}am'd sh{A}ll not {B}e thy d{E}fect,
. [F|O}r slanders m{A}rke was EUER yet the *(F)AIRE* ,
. The [ORN(A)MENT] of {B}eau(T)y is (SUS)pect,
. [A] Crow that fli[E]s in hea[V|E}ns swe[E]{TEST} ay[R]e.
. {SO} tho[U] be good,[S]lander d{O}th but approue,
. [T]heir *WORTH* the greater beeing woo'd of TIME,
. {F}or Canker vice the sweetest buds doth loue,
. [A]nd thou present'st a pure vnstayined prime.
. {T}hou hast past by the ambush of young daies,
. {E}ither not assayld, or victor beeing charg'd,
. Yet this thy *PRAISE* cannot be soe thy *PRAISE* ,
. To tye vp *ENUY*, EUERmore inlarged,
. If some (SUS)pect of ill *MASKT not thy show*,
. Then thou alone kingdomes of hearts shouldst owe.
....................................................
. <= 7 =>
.
. A C r o w
. t h a t f l i
. [E] s i n h e a
. [V] e n s s w e
. [E]{T E S T}a y
. [R] e{S O}t h o
. [U] b e g o o d,
. [S] l a n d e r
.................................................
. [E.VERUS] 7 : Prob. in any Sonnet ~ 1 in 55
.................................................
__ <= 35 =>
.
. t h ouareb {L} amd s h{A}llnot{B}et h y d{E}fect[F|O}rs
. l a ndersm {A} rke w a s EUERy e tt h e(F)A IRET h e OR
. N(A)MENTof {B} eau(T)y i sSUSp e ct[A]C r o wtha t f li
. e s inheau {E} nss w e e testa y re.S o t h oube g o od
. s l anderd {O} thb u t a pprou e
.
{LABEO} 6,35 : Prob. 2{LABEO}s start any Sonnet ~ 1 in 740
(FATA) 11
.........................................................
. *John Marston* Satire note:
.
. So {LABEO} did complain his love was *STONE*,
. Obdurate, flinty, so relentless none:
. Yet Lynceus knows that in the end of this
. He wrought as *STRANGE a metamorphosis*.
-----------------------------------------------------------
____ SONNET 60
.
. LIke as the waues make towards the pibled shore,
. So do our minuites hasten to [T]heir end,
. Each [C]hanging plac[E] with that whi[C]h goes before,
. [I]n sequent toi[L]e all forwards do contend.
. Natiuity once in the maine of light.
. Crawles to maturity, wherewith being crown'd,
. *CROOKED ECLIPSES* gainst his glory fight,
. [A]nd time that gaue, doth now his gift confound.
. [T]ime doth transfixe the florish set on youth,
. [A]nd delues the paralels in beauties brow,
.([F]EEDE)s on the rarities of natures *TRUTH* ,
. And nothing stands but for his sieth to mow.
. And yet to times in hope, my verse shall stand
. Praising thy *WORTH*, dispight his cruell hand.
................................................
___ <= 12 =>

. S o d o o u r m i n u (I)
. t e s h a s t e n t o [T]
. h e i r e n d,E a c h [C]
. h a n g i n g p l a c [E]
. w i t h t h a t w h i [C]
. h g o e s b e f o r e,[I]
. n s e q u e n t t o i [L]
. e a l l f o r w a r d s
. d o c o n t e n d.

[T.CECIL] 12 prob. in Sonnets ~ 1 in 67
................................................
[T]homas [CECIL]: only Garter vote for Oxford.
President of the Council of the NORTH: 1599–1603

Robert CECIL: *CROOKED ECLIPSES* ?
----------------------------------------------------------------
http://socrates.berkeley.edu/~ahnelson/ARMADA/1589Engl.html

Armada Pamphlets Commissioned by Burghley

An Answer to the vntruthes, pvblished and printed in Spaine, in glorie
of their svpposed victorie atchieued against our English Navie, and
the Right Honorable Charles Lord Howard, Lord high Admiral of England,
&c. Sir Francis Drake, and the rest of the Nobles and Gentlemen,
Captaines, and Soldiers of our said Navie. First written and published
in Spanish By a Spanish Gentleman; who came hither out of the Lowe
Countries from the service of the prince of Parma, with his wife
and familie, since the overthrowe of the Spanish Armada, forsaking
both his countrie and Romish religion; as by this Treatise
(against the barbarous impietie of the Spaniards; and
dedicated to the Queenes most excellent Majestie, may appeere.

Faithfully translated by I. L. [Ihon Lyllie?/Iames Leigh?]

London, Printed by Iohn Iackson, for Thomas Cadman. 1589.
.....................................................
. (L. Admirall)
. The Admirall with Lion on his creast,
. {l}ike to {A}lcides on the strond o{F} Troy:
. [A]rmd at {A}ssaie, to ba{T}tell is addre{A}st:
. [T]he sea that sawe his frownes, w{A}xt calme and coy,
. [A]s when that Neptune with three{F}orked mase,
. [F]or Trojans sake, did keepe the winds in chase.

{FATA} 11,-40
.....................................................
. (Earle of Oxford)
. De-Vere whose *FAME* , and loyaltie hath pearst,
. The Tuscan clime, and through the Belgike lands,
. By winged *FAME* , for valor is rehearst:
. Like warlike Mars upon the hatches stands,
. His tusked Bore gan fome for inwarde ire,
. While *PALLAS* fild his breast, with warlike fire.
-------------------------------------------------
Art Neuendorffer
nordicskiv2
2017-12-09 22:02:00 UTC
Permalink
On Saturday, December 9, 2017 at 10:54:01 AM UTC-5, Arthur Neuendorffer (aka Noonedafter) wrote:

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
{T.NASHE} 19 Prob. in Sonnet 76 ~ 1 in 450
[only *TNASHE* in Sonnets of any skip!]
Lea wrote: <<Then it isn't likely to be of any significance, Art.>>
Not in and off [sic] itself, perhaps.
Is English your native tongue, Art?

If you eVER play cards in mixed company, Art, I'd advise you to make sure that you neVER mention the Jack of Clubs in the conVERsation -- the sort of social organizations to which you belong might be misconstrued.
Why is it "VERy important", Art? Because it does *not* contain an acrostic?
Post by Arthur Neuendorffer
. Sonnet 76 (1609)
.
. WHy is my verse so barren of new pride?
. So far from variation or quicke *CHANGE*?
. Why with the time do I not glance aside
. {T}o new found methods, and to compounds *STRANGE*?
. {W}hy write I still all one, [EVER] the same,
. {A}nd keepe inuention in a *NOT{ED WEED}*,
. {T}hat {EVERy WORD} [D]oth almost fel {M[Y] NAME},
. {S}hewing th[E]ir birth, and whe[R]e {T}hey did proce[E]d?
. {O} k{N}ow sweet love I alw{A}ies writ[E] of you,
. So (A)ll my best is dressing old words new,
. For as the Sun is daily new and old,
. So is my loue still telling what is told,
...................................................
[T.WATSO\n\] Acrostic
That's *still* not an acrostic, Art.

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
____ <= 15 =>
.
(N O T){E D W E E D}(T) h A T {E V
. E R y w o r D}[D](O) t h a l m o
. S T F E L {M [Y](N) A M E},S h e w
. i n g t H [E] I r b i r t h a n
. (D) w h e [R] e {T} h E y D i d p r
. (O) c e [E D] O K {N} o w s w e E t
. (L) o [V E] I a l w {A} i e s w r i
. (T)[E] o f y o u A n {D}(Y) o u a n
. [D] l O v E a r e s (T){I}(L) l m y
. a r g u m e n t: S o (A) l l m y
..................................................
{I.DANTE/R} skip -16 {found by James Ferris}
And what do you think (usual disclaimer on steroids!) that that means, Art? That Dante Aligheri wrote the sonnet, in the original English?

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
. <= 2 X 19 =>
.
. LadyClaraVeredeVereYouput *(S) {T} RANGE* memori
. esinmyheadNotthriceyourbr (A) {N} ching linesh
. aveblownSinceIbeheldyoung (L) {A} urenc edeadO
. yoursweeteyesyourlowrepli (E) {S} Agrea tencha
. ntressyoumaybeButtherewas (T) {H} atacr osshis
. throatWhichyouhadhardlyca r {E} dtose e
{T.NASHE} 38 : Prob. ~ 1 in 130
(TELAS) -38 : Web (Latin)
----------------------------------------------------
Lea wrote: <<_Telas_ is the accusative plural,
which makes no sense whateVER without any VERb.>>
You manifestly have no idea what the accusative case is, Art -- it doesn't really arise in COBOL. And "TELAS [sic]" is moronic nonsense -- as usual.

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
<<I feel reasonably sure that George Mason Elementary endeavored to teach
you English, Art -- unsuccessfully, of course -- but I doubt that they
tried to teach you Latin.
They did teach me cursive
Then you neVER learned it, Art -- of the many adjectives that describe you, "discursive" is one of the most obvious.
Post by Arthur Neuendorffer
...and I'm really tempted, BELIEVE ME!
What tempts you, Art?
Post by Arthur Neuendorffer
Post by Arthur Neuendorffer
. Sonnet 76 (1609)
.
. WHy is my verse so barren of new pride?
Here's another interpretation for you to ponder, Art: the string "versesobarren" could be read as "Ver seso barren" -- look up "seso" in a Spanish dictionary, Art -- or rather, get someone literate to look it up and read the entry to you.
Post by Arthur Neuendorffer
Post by Arthur Neuendorffer
. So far from variation or quicke *CHANGE*?
. Why with the time do I not glance aside
. {T}o new found methods, and to compounds *STRANGE*?
. {W}hy write I still all one, [EVER] the same,
. {A}nd keepe inuention in a *NOT{ED WEED}*,
. {T}hat {EVERy WORD} [D]oth almost fel {M[Y] NAME},
. {S}hewing th[E]ir birth, and whe[R]e {T}hey did proce[E]d?
. {O} k{N}ow sweet love I alw{A}ies writ[E] of you,
. So (A)ll my best is dressing old words new,
. For as the Sun is daily new and old,
. So is my loue still telling what is told,
...................................................
[T.WATSO\n\] Acrostic
That's *STILL* not an acrostic, Art! You evidently cannot count to one!
Post by Arthur Neuendorffer
Lea wrote: <<That's not an acrostic, Art.>>
No, it pretty clearly doesn't, Art. First, it's not an acrostic. The acrostic (if there were one) would read "WSWTWATSOASSFS", which is moronic nonsense -- as usual.

There *is* a five-letter acrostic, addressing you, beginning on the eighth line; howeVER, it's generally considered poor form to begin an acrostic after the first line (a good acrostic should consist of the first letter of *each line of the stanza*), so I don't insist upon it.

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
. <= [61] = [5+4+5+20+5+17+5] =>
.
. Ascertainlyth [E] I rIronlaweshadbrokenAndhadawakdheavnwhoclearely
. wouldhaveshow [D]{T} hatchangeofKingdomstoherdeathitowdAndthattheWo
. rldstillofher [E]{N} dmightthinkeItwouldhaveletsomeneighboringmount
. ainsinkeOrthe [V]{A} stSeaitinonustocastAsSevernedidaboutsomefiveye
. arespastOrsom [E]{S} terneComethiscurldtoptoreareWhoselengthshouldm
. easurehalfeou [R]{He} misphereHoldingthisheighttosaysomewillnotstic
. keThatnowIrav [E] a ndamgrownelunaticke
.
[E.DEVERE] 61 : = Gematria value [5+4+5+20+5+17+5]
{T.NASH/e} 61
..............................................................
Prob. of {T.NASH/e} to right of [E.DEVERE] ~ 1 in 5,000,000
<<The latter is not an equidistant letter sequence, Art.>>
The issue is not how the name is spelled, Art; rather, it is that the above is *NOT* an equidistant letter sequence -- as usual.

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
Post by Arthur Neuendorffer
. HENRICUS URIOTHESLEUS
. THESEUS NIL REUS HIC RUO
_____ per anagramma
. {CHETH} SS [UERO NIL UERIUS]
<<"CHETH [sic] SS [sic] UERO NIL UERIUS" is moronic nonsense, Art.>>
*CHETH* is *Perfect ASHLAR*
--------------------------------------------------
__ Waite's 'Chariot' TAROT card
__ http://jktarot.com/chariotser.html
.
<<The Charioteer is NOT riding in the Chariot, but is SET
in the cubic stone of the Chariot. *The stone & 8-pointed*
.
_ the cube is 2 'cubed' *or 8 : the number of HETH*
.
___ the kabbalistic number of this card but
___ also refers to the Masonic *Perfect ASHLAR*
.
In Speculative Masonry an *ASHLAR* is freestone as it comes out
of the quarry. So, a *rough ASHLAR* is a stone in its 'rude &
unpolished' condition that is IGNORANT, uncultivated & vicious man.
But after one is 'smoothed & polished' by education and one learns
to restrain (or 'temper') ones [sic] passions, he [sic]
Is English your native tongue, Art?
Post by Arthur Neuendorffer
is represented by the
*Perfect ASHLAR* ,
*You* are the perfect ass/nar, Art.

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
Post by Arthur Neuendorffer
____ *EDOUDARUS V(e)IERUS*
_____ per anagramma
____ *AURE SURDUS VIDEO*
Lea wrote: <<That's not an anagram, Art.>>
Tell it to Francis Davison, Dave.
It's still not an anagram, Art. Davison was trying to flatter wealthy members of the peerage in hopes that they might share their largesse; as an incompetent (like you), he was compelled to cheat out of sheer desperation, being unable to find genuine anagrams, just as anti-Stratfordian crackpot cryptographers are compelled to cheat by sheer desperation at not finding anything.
Post by Arthur Neuendorffer
. Romeo and Juliet (Quarto 1, 1597) The Prologue.
.
Tvvo houshold Frends alike in dignitie,
(In faire VEROna, where we lay our Scene)
From ciuill broyles broke into enmitie,
VVhose ciuill warre makes ciuill hands vncleane.
.
[F]rom forth the *[FATA]ll* loynes of these two foes,
. {VV}hose mis{A}duentures, piteous ouerthrowes,
[T]hrough the con{T}inuing of their Fathers strife,
[A]nd death-markt p{A}ssage of their Parents rage
That's not an acrostic, Art -- as usual.
Post by Arthur Neuendorffer
{FATA} 41
...............
Is now the two howres traffique of our Stage.
The which if you with patient EARES attend,
. {VV}hat *HERE we [WANT]* wee'l studie to amend.
<<That's neither an anagram nor an equidistant letter sequence, Art.>>
Is French not your native tongue either, Art?

[Lunatic logorrhea snipped]
But Art -- "Iohn Marston's satire" is an anagram of "Art's insane shit-room", which is what your repetitive lunatic logorrhea has transformed h.l.a.s. into; that's why those of us not bound by obedience to the Grand Master left long ago, first to the Forest of Arden, then to Oxfraud -- both forums offer "More matter, with less Art".

If you prefer, it's also an anagram of "Art (moron) is thine ass".

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
[T]homas [CECIL]: only Garter vote for Oxford.
Of course, Art -- in view of Aubrey's anecdote, eVERyone else considered Oxford as suitable only for the Order of the Farter (or possibly for Jeff Sessions's former Senate seat).

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
-------------------------------------------------
Art Neuendorffer (aka Noonedafter)
Arthur Neuendorffer
2017-12-10 02:52:51 UTC
Permalink
----------------------------------------------------------------------
https://en.wikipedia.org/wiki/Matthew_Concanen#An_Essay_Against_Too_Much_Reading

<<Matthew Concanen (1701 – 22 January 1749) was a writer, poet & lawyer born in Ireland He criticised Alexander Pope and was rewarded with a passage in Pope's Dunciad ridiculing him as "A cold, long-winded native of the deep" (Dunciad, ii. 299-304). He was co-author of The history and antiquities of the parish of St. Saviour's, Southwark.

The 1728 anonymous pamphlet, An Essay Against Too Much Reading, has been attributed to Concanen, though it has also been identified (probably wrongly) as the work of a certain "Captain Goulding" (Thomas Goulding) of Bath. The author proposed "a short account of Mr Shakespeare's proceeding, and that I had from one of his intimate acquaintance..." Shakespeare is described as merely a collaborator who "in all probability cou'd not write English." With regard the Bard's grasp of history, the Essay related that Shakespeare "not being a scholar" employed a "chuckle-pated historian" who gave him a set of notes to save the trouble of research. The historian also corrected his grammar.>>
------------------------------------------------
. THE STORY OF THE LEARNED PIG
. As related by himself to the Author
. of the following letter.
.
Dear Sir,
.
. I have the pleasure to be v[E]ry
. intimate with the man w[H]o shews
. th(E) learned pig at[S]adl(E)r’s We(L)ls.
. As (I) was o(N)e d[A]y sitting (I)n
. his parlour, a[N]d no perso(N) in
. the house bu[T] myself, I was alarmed by a gentle
. rap at the door, which I immediately opened, and
. discovered the learned pig erect on his hinder legs,
. and bowing very gracefully with his head and body.
....................................................
. <= 22 =>
.
. I h a v e t h e p l e a s u r e t o b e v [E]
. r y i n t i m a t e w i t h t h e m a n w [H]
. o s h e w s t h (E) l e a r n e d p i g a t [S]
. a d l(E)r’s W e (L) l s.A s(I)w a s o(N)e d [A]
. y s i t t i n g (I) n h i s p a r l o u r,a [N]
. d n o p e r s o (N) i n t h e h o u s e b u [T]
. m y s e l f,

[T.NASHE] -22 : Prob. in first 2 sent. ~ 1 in 410
(NILE) -22,-5
---------------------------------------------------
. *STRANGE* Newes, 1592 by {T}homas {NASHE}
. Printed at London by *{I}ohn {DANTER}*, 1592.
...................................................
. Sonnet 76 : 4 X 19 (Metonic cycle)
.
. <= 19 =>
.
. E V E R {T} h e s a m e[A]n d k(E|E)p e
. i n u(E){N}(T)i o n i n a*N O T(E)D W(E)
. E D*T h {A}(T)E V E R y w o r(D|D]o t h
. a l m o {S}(T)F E L m[Y]n a m<E>S h e w
. i n g t {H}[E]i r b i r t h a n d w h e
. [R]e t h {E} y(D)i d p r o c e[E]d
.
{T.NASHE} 19 Prob. in Sonnet 76 ~ 1 in 450
[only *TNASHE* in Sonnets of any skip!]
----------------------------------------------------
Post by Arthur Neuendorffer
<<Then it isn't likely to be of any significance, Art.>>
Not in and of itself, perhaps.
Lea wrote: <<Why is it "VERy important", Art?
Because it does *not* contain an acrostic?>>

Because it *does* contain a near-acrostic:
----------------------------------------------------------
. Sonnet 76 (1609)
.
. WHy is my verse so barren of new pride?
. So far from variation or quicke *CHANGE*?
. Why with the time do I not glance aside
. {T}o new found methods, and to compounds *STRANGE*?
. {W}hy write I still all one, [EVER] the same,
. {A}nd keepe inuention in a *NOT{ED WEED}*,
. {T}hat {EVERy WORD} [D]oth almost fel {M[Y] NAME},
. {S}hewing th[E]ir birth, and whe[R]e {T}hey did proce[E]d?
. {O} k{N}ow sweet love I alw{A}ies writ[E] of you,
. A\n\{D} (Y)ou an[D] love are s(T|I|L)l my argument:
. So (A)ll my best is dressing old words new,
. Spending againe what is already spent:
. For as the Sun is daily new and old,
. So is my loue still telling what is told,
...................................................
[T.WATSO\n\] Acrostic Prob. ~ 1 in 5500
---------------------------------------------------
As well as a fascinating ELS:
................................................
____ <= 15 =>
.
(N O T){E D W E E D}(T) h A T {E V
. E R y w o r D}[D](O) t h a l m o
. S T F E L {M [Y](N) A M E},S h e w
. i n g t H [E] I r b i r t h a n
. (D) w h e [R] e {T} h E y D i d p r
. (O) c e [E D] O K {N} o w s w e E t
. (L) o [V E] I a l w {A} i e s w r i
. (T)[E] o f y o u A n {D}(Y) o u a n
. [D] l O v E a r e s (T){I}(L) l m y
. a r g u m e n t: S o (A) l l m y
..................................................
{I.DANTE/R} skip -16 {found by James Ferris}
(DOLT) skip 15
..................................................
[DEVERE] skip -14 {found by James Ferris}
[DYER] skip 14 {found by A.W.Burgstahler}
[DYEREVED] Prob. in any Sonnet ~ 1 in 3,000
---------------------------------------------------------.
Lea wrote:

<<And what do you think that that means, Art? That
Dante Aligheri wrote the sonnet, in the original English?>>
----------------------------------------------------------------
That England's {DANTE} = {T}homas {WATSO\n\} might have done so:
...................................................
Meres: "As {I|TALY) had {DANTE}, Boccace, Petrarch, ...
so England had {T}homas {WATSO\n\}, Thomas Kid, ..."
...........................................................
Or, perhaps, {T.NASHE} who was printed by {I}ohn {DANTE/R}:
----------------------------------------------------------
{T.NASHE}'s _Haue with you to Saffron-walden_ was
printed at London by {I}ohn {DANTE/R} in 1596 when
{T.NASHE} was living with Mr. & Mrs. {I}ohn {DANTE/R}
.......................................................
{T.NASHE}'s _Haue with you to Saffron-walden_ (1596)

"Page, hee beginnes with one 100. againe to make it seeme little,
(if I lye you may look and conuince mee); & in halfe a quire of
paper besides, hath left the Pages vnfigured. I haue read that
the Gian[T] A[N]t[A]u[S] S[H]i[E]ld askt a whole Elephants
hyde to couer it, bona fide I v [...]ter it, scarce a
whole Elephants hyde & a half would serue for a couer"
..................................................
. Othello (Quarto 1, 1622) last scene
.
Emillia: Thou hast not halfe the power to doe me harme,
. As I haue to be hurt: O gull, O (DOLT),
----------------------------------------------------
Alfred, Lord Tennyson (1809–1892)

Lady Clara Vere de Vere,
You put *(S){T}RANGE* memories in my head.
Not thrice your bra(A){N}ching lines have blown
Since I beheld young (L){A}urence dead.
O your sweet eyes, your low repli(E){S}:
A great enchantress you may be;
But there was (T)H}at across his throat
Which you had hardly car{E}d to see.
...................................................
. <= 2 X 19 =>
.
. LadyClaraVeredeVereYouput *(S) {T} RANGE* memori
. esinmyheadNotthriceyourbr (A) {N} ching linesh
. aveblownSinceIbeheldyoung (L) {A} urenc edeadO
. yoursweeteyesyourlowrepli (E) {S} Agrea tencha
. ntressyoumaybeButtherewas (T) {H} atacr osshis
. throatWhichyouhadhardlyca r {E} dtose e

{T.NASHE} 38 : Prob. ~ 1 in 130
(TELAS) -38 : Web (Latin)
--------------------------------------------------------
Post by Arthur Neuendorffer
Lea wrote: <<_Telas_ is the accusative plural,
which makes no sense whateVER without any VERb.>>
--------------------------------------------------------------
Do tell us all about. As we want to hear allabout. So TELLUS
*TELLAS* allabouter. The why or whether she looked alottylike
like ussies and whether he had his wimdop like themses shut?
-------------------------------------------------------
Only explicit mention of [MASON]s in [MASON] Ma.Twain:
.......................................................
. A Tramp Abroad (1880)
.
"What’s your father’s religious denominatio[N]?"
.
"Hi{M}? [O]h, he’[S] {A} bl[A]ck{S}[M]ith."
.
"N{O}, no—I do{N}'t mean his trade.
. What’s his RELIGIOUS DENOMINATION?"
.
"OH—I didn't understand you befo'. He’s a Free{MASON}."
......................................................
. <= 6 =>
.
. f a t h e r
. ’s r e l i g
. i o u s d e
. n o m i n a
. t i o [N] H i
. {M}[O] h, h e'[S]
. {A} b l [A] c k
. {S}[M] i t h."N
. {O},n o —I d o
. {N}'t m e a n
. h i s t r a
. d e.
.
[MASON] -4
{MASON} 1,6 : Prob. of 2[MASON]s skip<7 ~ 1 in 124,000
---------------------------------------------------------
Post by Arthur Neuendorffer
<<I feel reasonably sure that George Mason Elementary endeavored to teach
you English, Art -- unsuccessfully, of course -- but I doubt that they
tried to teach you Latin.
They did teach me cursive...and I'm really tempted, BELIEVE ME!
Lea wrote: <<What tempts you, Art?>>

Cursing at you, of course.
-----------------------------------------------
curse (n.) late Old English curs "a prayer that evil or harm befall one," of uncertain origin, perhaps from Old French curuz "anger," or Latin cursus "course." Connection with cross is unlikely.

cursive (adj.) 1784, from French cursif (18c.), from Medieval Latin cursivus "running," from Latin cursus "a running," from past participle of currere "to run". The notion is of "written with a running hand" (without raising the pen), originally as opposed to the older uncial hand.

uncial (adj.) 1640s, "pertaining to an ounce," from Latin uncialis "of an inch, of an ounce," from uncia "a twelfth part" (see inch (n.1)). In reference to letters, it is attested from 1712, from Late Latin litterae unciales (Jerome), probably meaning "letters an inch high," from Latin uncialis "of an inch, inch-high."
----------------------------------------------------
http://quod.lib.umich.edu/e/eebo/A73861.0001.001/1:12?rgn=div1;view=fulltext

ELEGIES VP ON SVNDRY OCCASIONS
Of his Ladies not Comming to London.
By *MICHAELL DRAYTON*, Esquire.

LONDON, Printed by A. M. for WILLIAM LEE, and are to be sold at the
*TURKES* Head in Fleete-Streete, next to the Miter and Phaenix. 1631.
.......................................................
But when the unpittying [FATES] her end decreed,
They to the same did instantly proceed,
For well they knew (if she had languish'd so)
As those which hence by naturall causes goe,
So many prayers and teares for her had spoken,
As certainly th[E|I)r Iron lawes had broken,
And had awak'd heav'n, who clearely would have show'[D]
{T}hat change of Kingdoms to her death it ow'd,
And that the World still of her [E|N}d might thinke,
It would have let some neighboring mountain sinke
Or the [V|A}st Sea it in on us to cast,
As Severne did about some five yeares past:
Or som[E] {S}terne Comet his curld top to reare,
Whose length should measure halfe ou[R] {HE}misphere,
Holding this height, to say some will not sticke,
That now I rav[E], and am growne lunaticke:
You of what sexe so ere you be, you lye,
'Tis thou thy selfe is lunatique, not I.
...................................................
. <= [61] = [5+4+5+20+5+17+5] =>
.
. Ascertainlyth [E] I rIronlaweshadbrokenAndhadawakdheavnwhoclearely
. wouldhaveshow [D]{T} hatchangeofKingdomstoherdeathitowdAndthattheWo
. rldstillofher [E]{N} dmightthinkeItwouldhaveletsomeneighboringmount
. ainsinkeOrthe [V]{A} stSeaitinonustocastAsSevernedidaboutsomefiveye
. arespastOrsom [E]{S} terneComethiscurldtoptoreareWhoselengthshouldm
. easurehalfeou [R]{He} misphereHoldingthisheighttosaysomewillnotstic
. keThatnowIrav [E] a ndamgrownelunaticke
.
[E.DEVERE] 61 : = Gematria value [5+4+5+20+5+17+5]
{T.NASH/e} 61
..............................................................
Prob. of {T.NASH/e} to right of [E.DEVERE] ~ 1 in 5,000,000
------------------------------------------------------------------
Post by Arthur Neuendorffer
<<The latter is not an equidistant letter sequence, Art.>>
Lea wrote: <<The issue is not how the name is spelled, Art.>>

The issue is, indeed, whether the name next to [E.DEVERE]
is spelled {T.NASH} or {T.NASHe}. {T.NASH/e} allows either:
------------------------------------------------------------------
In 1598 Meres placed:

*THOMAS NASH next to (grand father-in-law) SHAKESPEARE*
.....................................................
*THOMAS NASH* owned in 1642 the house next New Place in Chapel St.
. *His stone, to the right of Shakespeare's in the chancel*
. http://tinyurl.com/kevdr6g
...................................................
. ... the best for Comedy amongst vs bee,
.
_ Edward Earle of Oxforde,
.
_ Doctor Gager of Oxforde,
_ Maister Rowley once a rare Scholler of learned Pembrooke Hall,
_ Maister Edwardes one of her Maiesties Chappell,
_ eloquent and wittie Iohn Lilly,
_ Lodge,
_ Gascoyne,
......................
_ *GREENE* ,
_ *Shakespeare* ,
_ *THOMAS NASH* ,
......................
_ Thomas Heywood,
_ Anthony Mundye OUR BEST PLOTTER,
_ Chapman,
_ [PORTER],
.
_ *WILSON, HATHWAY* , and Henry Chettle.
-------------------------------------------------------------------
http://freepages.genealogy.rootsweb.com/~shakespeare/books/chambers/a...
.
William Shakespeare - A Study of The Facts & Problems
E K Chambers [Appendix A, Section]
.
RECORDS 1. CHRISTENINGS, MARRIAGES, AND BURIALS
.
1626, Apr. 22. M. Mr *THOMAS NASH* to Mrs Elizabeth Hall.
1647, Apr. 5. B. *THOMAS NASH* , Gent.
.
[His stone, to the right of Shakespeare's in the chancel, has under
the arms of *NASH* (<Az. > on a chevron between three ravens' heads
erased <arg. > a pellet between four crosses crosslet <sa. >),
quartered with Bulstrode, impaling Hall quartered with Shakespeare:
.
. HEERE RESTETH YE BODY OF THOMAS
. NASHE, ESQ. HE MAR. ELIZABETH, THE
. DAVG: & HEIRE OF IOHN HALLE, GENT.
. HE DIED APRILL 4. A. 1647, AGED 53.
.
."[FATA] manent omnes, hunc non virtute carentum
. {UT} necque divitiis, abstulit atra dies;
. Abstulit, at referet lux ultima; *SIST[E V|I}ATOR*,
. si p[E|R}itura pa[R|A}s per mal[E] {P}arta peri{S}."
...............................
. <= 9 =>
.
. *S I S T [E V] {I} A T
. O R*s i p [E] {R} i t
. u r a p a [R] {A} s p
. e r m a l [E] {P} a r
. t a p e r i {S}
.
[E/VERE] 9 : Prob. ~ 1 in 160
{SPARI} m (LATIN) of a hunting *SPEAR*
.......................................................
"[(F)ATE] (A)wai(T)ing (A)ll of this and not to be
deprived of power or wealth, has stolen a day
and taken away the last light; *STAY TRAVELER*;
As perishable ingredients may be obtained through the rocks."
---------------------------------------------------------------------
Post by Arthur Neuendorffer
Post by Arthur Neuendorffer
. HENRICUS URIOTHESLEUS
. THESEUS NIL REUS HIC RUO
_____ per anagramma
. {CHETH} SS [UERO NIL UERIUS]
<<"CHETH [sic] SS [sic] UERO NIL UERIUS" is moronic nonsense, Art.>>
*CHETH* is *Perfect ASHLAR*
--------------------------------------------------
__ Waite's 'Chariot' TAROT card
__ http://jktarot.com/chariotser.html
.
<<The Charioteer is NOT riding in the Chariot, but is SET
in the cubic stone of the Chariot. *The stone & 8-pointed*
.
_ the cube is 2 'cubed' *or 8 : the number of HETH*
.
___ the kabbalistic number of this card but
___ also refers to the Masonic *Perfect ASHLAR*
.
In Speculative Masonry an *ASHLAR* is freestone as it comes out
of the quarry. So, a *rough ASHLAR* is a stone in its 'rude &
unpolished' condition that is IGNORANT, uncultivated & vicious man.
But after one is 'smoothed & polished' by education and one
learns to restrain (or 'temper') one's passions,
he is represented by the *Perfect ASHLAR* ,
Lea wrote: <<*You* are the perfect ass/nar, Art.>>

I...{NAR}?
------------------------------------------------------------
Loading Image...
.
_The MINERVA BRITANNA_ Banner Folding clearly demonstrates
how the Equidistant Linear Sequence decoding is to be performed:
............................................................
. (V I__\V\ I [T]U R
. I N G __\E\ {N}[I]O
. |C||Æ||T| E \R\ {A}[M]
. |O||R||T| I S __\E\ {R}
. |U N T|
.
______________ *COUNT VERE*
_____*COU-RONNE* [French] *CORONET* , corona

. [MIT] {NAR} is old Dutch for "WITH FOOL"
.
. VIVITUR INGENIO, CÆTERA MORTIS ERUNT.
.
"all thinges perish and come to theyr last end, but workes
of learned WITS and monuments of Poetry abide *for EUER* ."
-------------------------------------------------
Post by Arthur Neuendorffer
Post by Arthur Neuendorffer
____ *EDOUDARUS V(e)IERUS*
_____ per anagramma
____ *AURE SURDUS VIDEO*
Lea wrote: <<That's not an anagram, Art.>>
Tell it to Francis Davison, Dave.
Lea wrote:

<<Davison was trying to flatter wealthy members of the
peerage in hopes that they might share their largesse;>>

But Oxford was *BROKE* by 1603!
----------------------------------------------------
. Romeo and Juliet (Quarto 1, 1597) The Prologue.
.
Tvvo houshold Frends alike in dignitie,
(In faire VEROna, where we lay our Scene)
From ciuill broyles *BROKE* into enmitie,
VVhose ciuill warre makes ciuill hands vncleane.
.
[F]rom forth the *[FATA]ll* loynes of these two foes,
[A] paire o{F} starre-crost Louers tooke their life:
. {VV}hose mis{A}duentures, piteous ouerthrowes,
[T]hrough the con{T}inuing of their Fathers strife,
[A]nd death-markt p{A}ssage of their Parents rage
...............
{FATA} 41
...............
Is now the two howres traffique of our Stage.
The which if you with patient EARES attend,
. {VV}hat *HERE we [WANT]* wee'l studie to amend.
----------------------------------------------------------
Lea wrote: <<That's not an acrostic, Art.>>

A near acrostic, Dave
Post by Arthur Neuendorffer
<<That's neither an anagram nor an equidistant letter sequence, Art.>>
Lea wrote: <<Is French not your native tongue either, Art?>>

It's a pun, Dave.
----------------------------­-------------­-----------
. . . Sonnet 70

. That thou are b{L}am'd sh{A}ll not {B}e thy d{E}fect,
. [F|O}r slanders m{A}rke was EUER yet the *(F)AIRE* ,
. The [ORN(A)MENT] of {B}eau(T)y is (SUS)pect,
. [A] Crow that fli[E]s in hea[V|E}ns swe[E]{TEST} ay[R]e.
. {SO} tho[U] be good,[S]lander d{O}th but approue,
. [T]heir *WORTH* the greater beeing woo'd of TIME,
. {F}or Canker vice the sweetest buds doth loue,
. [A]nd thou present'st a pure vnstayined prime.
. {T}hou hast past by the ambush of young daies,
. {E}ither not assayld, or victor beeing charg'd,
. Yet this thy *PRAISE* cannot be soe thy *PRAISE* ,
. To tye vp *ENUY*, EUERmore inlarged,
. If some (SUS)pect of ill *MASKT not thy show*,
. Then thou alone kingdomes of hearts shouldst owe.
....................................................
. <= 7 =>
.
. A C r o w
. t h a t f l i
. [E] s i n h e a
. [V] e n s s w e
. [E]{T E S T}a y
. [R] e{S O}t h o
. [U] b e g o o d,
. [S] l a n d e r
.................................................
. [E.VERUS] 7 : Prob. in any Sonnet ~ 1 in 55
.................................................
__ <= 35 =>
.
. t h ouareb {L} amd s h{A}llnot{B}et h y d{E}fect[F|O}rs
. l a ndersm {A} rke w a s EUERy e tt h e(F)A IRET h e OR
. N(A)MENTof {B} eau(T)y i sSUSp e ct[A]C r o wtha t f li
. e s inheau {E} nss w e e testa y re.S o t h oube g o od
. s l anderd {O} thb u t a pprou e
.
{LABEO} 6,35 : Prob. 2{LABEO}s start any Sonnet ~ 1 in 740
(FATA) 11
.........................................................
. *John Marston* Satire note:
.
. So {LABEO} did complain his love was *STONE*,
. Obdurate, flinty, so relentless none:
. Yet Lynceus knows that in the end of this
. He wrought as *STRANGE a metamorphosis*.
-----------------------------------------------------------
Lea wrote:

<<But Art -- "Iohn Marston's satire" is an anagram of "Art's insane shit-room", which is what your repetitive lunatic logorrhea has transformed h.l.a.s. into; that's why those of us not bound by obedience to the Grand Master left long ago, first to the Forest of Arden, then to Oxfraud -- both forums offer "More matter, with less Art".>>

"Art's insane shit-room" : INPNC = 3/18

Lea wrote:

<<If you prefer, it's also an anagram of "Art (moron) is thine ass".

"Art (moron) is thine ass" : INPNC = 3/18
-----------------------------------------------------------
____ SONNET 60
.
. LIke as the waues make towards the pibled shore,
. So do our minuites hasten to [T]heir end,
. Each [C]hanging plac[E] with that whi[C]h goes before,
. [I]n sequent toi[L]e all forwards do contend.
. Natiuity once in the maine of light.
. Crawles to maturity, wherewith being crown'd,
. *CROOKED ECLIPSES* gainst his glory fight,
. [A]nd time that gaue, doth now his gift confound.
. [T]ime doth transfixe the florish set on youth,
. [A]nd delues the paralels in beauties brow,
.([F]EEDE)s on the rarities of natures *TRUTH* ,
. And nothing stands but for his sieth to mow.
. And yet to times in hope, my verse shall stand
. Praising thy *WORTH*, dispight his cruell hand.
................................................
___ <= 12 =>

. S o d o o u r m i n u (I)
. t e s h a s t e n t o [T]
. h e i r e n d,E a c h [C]
. h a n g i n g p l a c [E]
. w i t h t h a t w h i [C]
. h g o e s b e f o r e,[I]
. n s e q u e n t t o i [L]
. e a l l f o r w a r d s
. d o c o n t e n d.

[T.CECIL] 12 prob. in Sonnets ~ 1 in 67
................................................
[T]homas [CECIL]: only Garter vote for Oxford.
President of the Council of the NORTH: 1599–1603

Robert CECIL: *CROOKED ECLIPSES* ?
----------------------------------------------------------------
Lea wrote:

<<Of course, Art -- in view of Aubrey's anecdote,
eVERyone else considered Oxford as
suitable only for the Order of the Farter.>>
------------------------------------------------------------------
<<This Earle of Oxford, making his *LOW* obeisance to Queen
Elizabeth, happened to let a FART, at which he was so
abashed & ashamed that he went to Travell, *7 yeares* .
On his returne the Queen welcomed him home, and sayd,
My Lord, I had forgott the FART.>> -- John Aubrey
...............................................................
*OZONE* is derived from the Greek *OXE(i)N* meaning *to SMELL*
...............................................................
Joseph Barnes published the only English edition of *ARISTOPHANES*
prior to 1640, a Greek edition published in *OXENford* in 1593.
--------------------------------------------------
Greek political satires were written that
. ridiculed Pericles' *non-aristocratic*
successor: the war-mongering demagogue *CLEON* .
.
. thE WaSPS [Sphekes] (422 BC) Philonides
. thE KnigHts. (424 BC) *ARISTOPHANES*
. thE AchARnians (425 BC) Callistratus
.
. But Philonides & Callistratus were
. pseudonym/front men used by *ARISTOPHANES* .
.
Unfortunately, Aristophanes was unable to hide behind
a pseudonym in _The Knights_ because Aristophanes,
himself, was *forced to play the CLEON character*
(a scheming *PAPHLAGONIAN LEATHER-MONGER* )
after EVERyone else refused.
.
(We know for certain that this character was
intended to be *CLEON* because *CLEON's father*
Cleaenetus was, in fact, *A TANNER* .)
------------------------------------------------------
. _The Knights_ (424 BC) by *ARISTOPHANES*
......................................................
NICIAS How loudly the *PAPHLAGONIAN FARTS* and snores!
. I was able to seize the sacred oracle, which he was
. guarding with the greatest care, without his seeing me.
......................................................
SAUSAGE-SELLER: VERy well!
. it was *CLEON* who had caused the price to fall so low,
. that all might eat it, and the jurymen in the Courts were
. almost asphyxiated from *FARTING* in each others' faces.
.
DEMOS: Hah! why, indeed, a *DUNGTOWNITE* told me the same thing.
.
SAUSAGE-SELLER: Were you not yourself in those days
. quite red in the gills with *FARTING*?
.
DEMOS: Why, it was a trick *WORTHY* of Pyrrhandrus!
---------------------------------------------------------
Art Neuendorffer

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