http://mortenstgeorge.net
This essay presents evidence of an important discovery with regard to the writings of the English playwrights William Shakespeare and Christopher Marlowe. It may turn out be the most important discovery with regard to these playwrights so far made in the 21st century.
Prospero's "most auspicious star" and Shakespeare's message in a bottleMarianne Kimura
This document analyzes Shakespeare's play The Tempest and argues it contains allegorical references to Shakespeare's support for solar energy and opposition to fossil fuels. It claims Prospero represents Shakespeare, and his line about courting "a most auspicious star" refers to the sun. The storm that drives Prospero's enemies to the island represents an intellectual debate. The document provides a lengthy analysis exploring parallels between The Tempest and Hamlet, and arguing both plays contain encrypted predictions that the negative effects of fossil fuel use would one day enable audiences to understand Shakespeare's true message in support of solar energy.
This document provides a detailed summary and analysis of Seamus Heaney's poem "Cassandra". It begins by giving context that the poem is part of Heaney's work "Mycenae Lookout" and retells the story of Cassandra, who was captured after the Trojan War. The summary then analyzes the poem line-by-line, examining how Heaney depicts the characters of Cassandra and Agamemnon and draws from classical sources like Aeschylus' Agamemnon. It concludes by noting how Heaney condenses Cassandra's final speech and brings the complex story of revenge and violence to a concise close in the poem.
In this quintessential Shakespearean drama, Hamlet's halting pursuit of revenge for his father's death unfolds in a series of highly charged confrontations that climax in tragedy. Probing the depths of human...
Hamlet contains hints that Shakespeare wrote it to convey a hidden message or puzzle. The document analyzes a passage where Hamlet instructs Ophelia to reveal the truth about his madness, suggesting the puzzle's solution will become clear when fossil fuels are seen as negatively as "the bloat King". The author believes Shakespeare, representing concern for the environment, used Hamlet to allegorically portray the transition from a sun-based economy to fossil fuel use. Clues like Hamlet's deceptive writings and references to exposing mysteries indicate the play itself contains a puzzle for future generations to solve regarding this message.
T. S. Eliot's Sweeney among the Nightingales is a modernist lyric poem that first appeared in a 1919 Eliot collection entitled Poems. The collection was published in England by Hogarth Press, operated by writers Leonard and Virginia Woolf. As a modernist work, the poem presents its characters as mundane and vulgar rather than as romantic or heroic, like the characters in many poems of the nineteenth century.
“Conceit deceitful”: the painting of Hecuba and the Trojan War in The Rape of...Marianne Kimura
The document discusses Shakespeare's use of "conceits" in his works. It analyzes Lucrece's interpretation of a painting depicting the fall of Troy, noting how she develops a conceit comparing the painting's characters and plot to her own rape. The author argues this reveals Shakespeare's approach of using classical stories as conceits or allegories. Additionally, Lucrece is shown giving voice to the voiceless painted figure of Hecuba, implying artists should do the same, such as Shakespeare voicing opposition to coal through his works. In general, the document analyzes Shakespeare's aesthetic philosophy and use of conceits/allegories as a way to express social commentary and criticism.
1. The document provides a plot summary of William Shakespeare's play Julius Caesar. It describes Caesar's return to Rome after victory in battle and the growing conspiracy against him led by Cassius and Brutus, who are worried about Caesar's increasing power. On the Ides of March, the conspirators stab and kill Caesar in the Senate.
2. After Caesar's death, Mark Antony pledges allegiance to the conspirators but later turns the crowd against them with an inciting speech. Brutus and Cassius face off against Antony and Octavian at Philippi, where Cassius commits suicide after being misinformed that their troops are losing.
3. At Philippi, Brutus
Prospero's "most auspicious star" and Shakespeare's message in a bottleMarianne Kimura
This document analyzes Shakespeare's play The Tempest and argues it contains allegorical references to Shakespeare's support for solar energy and opposition to fossil fuels. It claims Prospero represents Shakespeare, and his line about courting "a most auspicious star" refers to the sun. The storm that drives Prospero's enemies to the island represents an intellectual debate. The document provides a lengthy analysis exploring parallels between The Tempest and Hamlet, and arguing both plays contain encrypted predictions that the negative effects of fossil fuel use would one day enable audiences to understand Shakespeare's true message in support of solar energy.
This document provides a detailed summary and analysis of Seamus Heaney's poem "Cassandra". It begins by giving context that the poem is part of Heaney's work "Mycenae Lookout" and retells the story of Cassandra, who was captured after the Trojan War. The summary then analyzes the poem line-by-line, examining how Heaney depicts the characters of Cassandra and Agamemnon and draws from classical sources like Aeschylus' Agamemnon. It concludes by noting how Heaney condenses Cassandra's final speech and brings the complex story of revenge and violence to a concise close in the poem.
In this quintessential Shakespearean drama, Hamlet's halting pursuit of revenge for his father's death unfolds in a series of highly charged confrontations that climax in tragedy. Probing the depths of human...
Hamlet contains hints that Shakespeare wrote it to convey a hidden message or puzzle. The document analyzes a passage where Hamlet instructs Ophelia to reveal the truth about his madness, suggesting the puzzle's solution will become clear when fossil fuels are seen as negatively as "the bloat King". The author believes Shakespeare, representing concern for the environment, used Hamlet to allegorically portray the transition from a sun-based economy to fossil fuel use. Clues like Hamlet's deceptive writings and references to exposing mysteries indicate the play itself contains a puzzle for future generations to solve regarding this message.
T. S. Eliot's Sweeney among the Nightingales is a modernist lyric poem that first appeared in a 1919 Eliot collection entitled Poems. The collection was published in England by Hogarth Press, operated by writers Leonard and Virginia Woolf. As a modernist work, the poem presents its characters as mundane and vulgar rather than as romantic or heroic, like the characters in many poems of the nineteenth century.
“Conceit deceitful”: the painting of Hecuba and the Trojan War in The Rape of...Marianne Kimura
The document discusses Shakespeare's use of "conceits" in his works. It analyzes Lucrece's interpretation of a painting depicting the fall of Troy, noting how she develops a conceit comparing the painting's characters and plot to her own rape. The author argues this reveals Shakespeare's approach of using classical stories as conceits or allegories. Additionally, Lucrece is shown giving voice to the voiceless painted figure of Hecuba, implying artists should do the same, such as Shakespeare voicing opposition to coal through his works. In general, the document analyzes Shakespeare's aesthetic philosophy and use of conceits/allegories as a way to express social commentary and criticism.
1. The document provides a plot summary of William Shakespeare's play Julius Caesar. It describes Caesar's return to Rome after victory in battle and the growing conspiracy against him led by Cassius and Brutus, who are worried about Caesar's increasing power. On the Ides of March, the conspirators stab and kill Caesar in the Senate.
2. After Caesar's death, Mark Antony pledges allegiance to the conspirators but later turns the crowd against them with an inciting speech. Brutus and Cassius face off against Antony and Octavian at Philippi, where Cassius commits suicide after being misinformed that their troops are losing.
3. At Philippi, Brutus
Why do some words translated English behave differently compared to their usage by native English authors. I take a word invented by Milton in Paradise Lost, and see what happens.
“Will’t not off?”: Will Steps Out from the Shadows of Measure for Measure Marianne Kimura
This document analyzes the secret allegorical meanings behind some of the characters in Shakespeare's play Measure for Measure. It argues that Duke Vincentio represents Shakespeare himself as a secret playwright staging deceptions. Isabella represents nature and the sun, while Angelo represents coal and capitalism. Mariana symbolizes people's engagement with Shakespeare's works through reading and performance. The analysis draws on allusions to figures like Giordano Bruno to uncover hidden meanings related to Shakespeare's purported support of environmentalism and opposition to coal.
This poem describes the harsh treatment of soldiers in Company B by their Sergeant Major, Money, after most of the officers were killed in the Battle of Arras. Money drove the men intensely with his strict discipline, causing one man to commit suicide and another to lose his sanity. The inexperienced officers had no choice but to submit to Money's authority. Finally, two Welsh soldiers bayoneted Money to death in retaliation for his cruelty. The narrator does not blame any of the parties involved, as each was simply acting according to their circumstances in the chaotic environment of war.
Cervantes' novel Don Quixote satirizes the epic tradition through its main character Don Quixote, who is portrayed as a frail, insane old man rather than the idealized hero of epics. Some key ways Cervantes subverts the genre include depicting Don Quixote's battles as absurd and resulting in injury rather than glory, having Don Quixote die renouncing chivalry rather than in a climactic battle, and focusing on characters rather than ideals. Through these and other techniques, Cervantes exposes the tension between traditional epic ideals and a more cynical view of the world.
This document provides a detailed summary and analysis of William Shakespeare's play Macbeth in 3 sentences:
It explores Macbeth's descent into evil and tyranny after he murders King Duncan upon the urging of his wife Lady Macbeth and their manipulation by the witches' prophecies, depicting how his crimes lead to his paranoid rule and eventual downfall. Dramatic irony pervades the play as characters are unaware of the true situations while the audience understands Macbeth's growing corruption. The play examines the complex interplay between free will and fate that leads to Macbeth's tragic downfall through his own actions and the consequences of his choices.
The Princess and her party go hunting in the woods. Costard mistakenly delivers a letter from Berowne meant for Rosaline to the Princess. Holofernes and Nathaniel discuss the hunt and an epitaph for the slain deer. Jaquenetta brings Berowne's letter, which was wrongly given to her, to Holofernes and Nathaniel to read, revealing it was meant for Rosaline. They tell Jaquenetta and Costard to bring the letter to the King to remedy the mistake.
This document provides an overview of Charles Raymond Barrett's 1898 book "A Practical Treatise on the Art of the Short Story". The book aims to outline the principles and techniques used by masters of the short story based on Barrett's study of their works. It is intended to provide practical guidance to novice short story writers. Barrett analyzes various elements of short story writing including plot, characters, narration, beginnings, endings, and the labor of authorship. The book also contains examples from both successful and unsuccessful short stories.
This document summarizes 4 poems from the Early Renaissance period:
1) Two poems by Thomas Wyatt from the 16th century describing the pains of love.
2) A poem by Queen Elizabeth I responding to a request from her cousin Mary, Queen of Scots.
3) A poem by Sir Walter Ralegh having a vision of past poets upon seeing the Fairy Queen.
4) An excerpt from the beginning of Edmund Spenser's epic poem The Faerie Queene from the 16th century, considered a masterpiece of English literature.
William Shakespeare was a renowned 16th century English playwright and poet. He is widely regarded as the greatest writer in the English language. Some of his most famous works include tragedies, comedies, and histories such as Hamlet, Romeo and Juliet, Macbeth, and A Midsummer Night's Dream. Shakespeare's plays and poems have been translated into every major language and are performed more often than any other playwright.
The poem Beowulf tells the story of a Geatish hero named Beowulf who helps the Danish king Hrothgar. Hrothgar had built a great hall called Heorot, but it was being attacked by the monster Grendel, who would come at night and kill Hrothgar's warriors. Beowulf hears of this and comes with his men to help. Beowulf fights Grendel barehanded and kills him, saving the kingdom. However, Grendel's mother seeks revenge, so Beowulf later tracks her down and slays her as well, completing his task of ridding the land of threats.
This document discusses Pope's use of allusions in his poem "The Rape of the Lock". It argues that Pope expects the reader to have in-depth knowledge of classical literature to fully understand the poem. It examines a passage where Pope alludes to two techniques Homer uses to indicate time - references to judges dining and laborers' dinner. The author argues this shows the complexity of Pope's allusions and how they interact with and enhance the meanings and contexts of the poem. In general, the document aims to demonstrate how deeply embedded classical influences and allusions are in Pope's poetry, and how understanding the contexts behind the allusions provides fuller insight into his works.
This document provides examples of words and phrases that were first used in literature by William Shakespeare, along with their origins and meanings. It includes over 30 words along with brief definitions or quotations. It also lists common phrases from Shakespeare plays and their modern meanings. Finally, it presents a passage from Macbeth translated into modern English and prompts students to complete translation exercises to build familiarity with Shakespearean language.
The poem "The Second Coming" by W.B. Yeats describes a nightmarish post-war scene in Europe. It uses Christian imagery of the Apocalypse and references a vast image of a sphinx that troubles the speaker. In the context of today, the poem can be read as referring to the pandemic, where things fell apart as the center could not hold, and the war in Ukraine, where innocence is drowned and people wait for revelation.
During Queen Elizabeth I's reign in the late 16th century, English literature flourished in what is known as the Elizabethan period. Major authors included Edmund Spenser, who wrote the epic poem The Faerie Queene celebrating Queen Elizabeth and the Protestant faith. William Shakespeare established himself as one of the preeminent playwrights with works like Romeo and Juliet and A Midsummer Night's Dream. Christopher Marlowe was also an influential early playwright known for plays like Tamburlaine the Great and Doctor Faustus. Overall, the Elizabethan period saw dramatic works develop into their own genre and established England as a leader in literature during the Renaissance.
Arguably the darkest of all Shakespeare's plays, Macbeth is also one of the most challenging. Is it a work of nihilistic despair, "a tale told by an idiot, full of sound and fury, signifying nothing," or is...
This document provides a concise summary of 1000 years of English poetry in 3 sentences:
Old English poetry from 500-1100 AD used alliteration and was focused on religion, history, and epic tales like Beowulf. Medieval poetry from 1100-1500 AD was influenced by the church and included works like The Canterbury Tales by Chaucer and Sir Gawain and the Green Knight. Renaissance poetry from 1500-1700 AD saw the rise of sonnets, including Petrarchan, Spenserian, and Shakespearean forms, as well as major works like Paradise Lost by Milton.
William Shakespeare is cllaed the Bard of Avan.
Shakespeare's influence is summarized nicely by Thomas Carlyle.
This King Shakespeare does he not shine, in crowned sovereignty, over us all, as the noblest, gentlest, yet strongest of rallying-signs; indestructible; really more valuable in that point of view than any other means or appliance whatsoever? We can fancy him as radiant aloft over all Nations of Englishmen, thousand years hence. From Paramatta, from New York, wheresoever, under what sort of Parish-Constable soever, English men and women are, they will say to one another, 'Yes, this Shakespeare is ours; we produced him, we speak and think by him; we are of one blood and kind with him. (Thomas Carlyle, The Hero as Poet, 1841).
This document provides summaries of several quatrains from Nostradamus' famous book of prophecies "Les Propheties". It describes prophecies that predicted major events like the death of King Henry II, the wars of succession in France after his death, the overthrow of the Persian monarchy during the Iranian Revolution, and the atomic bombings of Hiroshima and Nagasaki. It also notes that some texts claiming to be Nostradamus prophecies predicting 9/11 are actually fake and not written by Nostradamus.
The poem "The Second Coming" by W.B. Yeats describes a nightmarish vision of chaos in the world. It uses religious imagery of the Apocalypse and Second Coming to represent the atmosphere after World War I in Europe. The speaker sees a falcon unable to hear its falconer, and things falling apart with the center unable to hold. Anarchy is unleashed while innocence is drowned. The speaker wonders if a revelation is imminent, and if the Second Coming is at hand, given the shape of a lion-human figure moving in the desert sands that troubles his sight.
The document provides background information on the Allied invasion of Normandy on D-Day. It discusses how the invasion was the largest sea borne invasion in history. Extensive planning went into selecting the beaches and objectives. The Allies identified five beaches for the invasion - Utah and Omaha for the Americans, and Gold, Juno, and Sword for the British and Canadians. Airborne units would land on the flanks of Utah and Sword beaches. The main objectives for D-Day were to secure the beaches, key travel routes, and the city of Caen.
Why do some words translated English behave differently compared to their usage by native English authors. I take a word invented by Milton in Paradise Lost, and see what happens.
“Will’t not off?”: Will Steps Out from the Shadows of Measure for Measure Marianne Kimura
This document analyzes the secret allegorical meanings behind some of the characters in Shakespeare's play Measure for Measure. It argues that Duke Vincentio represents Shakespeare himself as a secret playwright staging deceptions. Isabella represents nature and the sun, while Angelo represents coal and capitalism. Mariana symbolizes people's engagement with Shakespeare's works through reading and performance. The analysis draws on allusions to figures like Giordano Bruno to uncover hidden meanings related to Shakespeare's purported support of environmentalism and opposition to coal.
This poem describes the harsh treatment of soldiers in Company B by their Sergeant Major, Money, after most of the officers were killed in the Battle of Arras. Money drove the men intensely with his strict discipline, causing one man to commit suicide and another to lose his sanity. The inexperienced officers had no choice but to submit to Money's authority. Finally, two Welsh soldiers bayoneted Money to death in retaliation for his cruelty. The narrator does not blame any of the parties involved, as each was simply acting according to their circumstances in the chaotic environment of war.
Cervantes' novel Don Quixote satirizes the epic tradition through its main character Don Quixote, who is portrayed as a frail, insane old man rather than the idealized hero of epics. Some key ways Cervantes subverts the genre include depicting Don Quixote's battles as absurd and resulting in injury rather than glory, having Don Quixote die renouncing chivalry rather than in a climactic battle, and focusing on characters rather than ideals. Through these and other techniques, Cervantes exposes the tension between traditional epic ideals and a more cynical view of the world.
This document provides a detailed summary and analysis of William Shakespeare's play Macbeth in 3 sentences:
It explores Macbeth's descent into evil and tyranny after he murders King Duncan upon the urging of his wife Lady Macbeth and their manipulation by the witches' prophecies, depicting how his crimes lead to his paranoid rule and eventual downfall. Dramatic irony pervades the play as characters are unaware of the true situations while the audience understands Macbeth's growing corruption. The play examines the complex interplay between free will and fate that leads to Macbeth's tragic downfall through his own actions and the consequences of his choices.
The Princess and her party go hunting in the woods. Costard mistakenly delivers a letter from Berowne meant for Rosaline to the Princess. Holofernes and Nathaniel discuss the hunt and an epitaph for the slain deer. Jaquenetta brings Berowne's letter, which was wrongly given to her, to Holofernes and Nathaniel to read, revealing it was meant for Rosaline. They tell Jaquenetta and Costard to bring the letter to the King to remedy the mistake.
This document provides an overview of Charles Raymond Barrett's 1898 book "A Practical Treatise on the Art of the Short Story". The book aims to outline the principles and techniques used by masters of the short story based on Barrett's study of their works. It is intended to provide practical guidance to novice short story writers. Barrett analyzes various elements of short story writing including plot, characters, narration, beginnings, endings, and the labor of authorship. The book also contains examples from both successful and unsuccessful short stories.
This document summarizes 4 poems from the Early Renaissance period:
1) Two poems by Thomas Wyatt from the 16th century describing the pains of love.
2) A poem by Queen Elizabeth I responding to a request from her cousin Mary, Queen of Scots.
3) A poem by Sir Walter Ralegh having a vision of past poets upon seeing the Fairy Queen.
4) An excerpt from the beginning of Edmund Spenser's epic poem The Faerie Queene from the 16th century, considered a masterpiece of English literature.
William Shakespeare was a renowned 16th century English playwright and poet. He is widely regarded as the greatest writer in the English language. Some of his most famous works include tragedies, comedies, and histories such as Hamlet, Romeo and Juliet, Macbeth, and A Midsummer Night's Dream. Shakespeare's plays and poems have been translated into every major language and are performed more often than any other playwright.
The poem Beowulf tells the story of a Geatish hero named Beowulf who helps the Danish king Hrothgar. Hrothgar had built a great hall called Heorot, but it was being attacked by the monster Grendel, who would come at night and kill Hrothgar's warriors. Beowulf hears of this and comes with his men to help. Beowulf fights Grendel barehanded and kills him, saving the kingdom. However, Grendel's mother seeks revenge, so Beowulf later tracks her down and slays her as well, completing his task of ridding the land of threats.
This document discusses Pope's use of allusions in his poem "The Rape of the Lock". It argues that Pope expects the reader to have in-depth knowledge of classical literature to fully understand the poem. It examines a passage where Pope alludes to two techniques Homer uses to indicate time - references to judges dining and laborers' dinner. The author argues this shows the complexity of Pope's allusions and how they interact with and enhance the meanings and contexts of the poem. In general, the document aims to demonstrate how deeply embedded classical influences and allusions are in Pope's poetry, and how understanding the contexts behind the allusions provides fuller insight into his works.
This document provides examples of words and phrases that were first used in literature by William Shakespeare, along with their origins and meanings. It includes over 30 words along with brief definitions or quotations. It also lists common phrases from Shakespeare plays and their modern meanings. Finally, it presents a passage from Macbeth translated into modern English and prompts students to complete translation exercises to build familiarity with Shakespearean language.
The poem "The Second Coming" by W.B. Yeats describes a nightmarish post-war scene in Europe. It uses Christian imagery of the Apocalypse and references a vast image of a sphinx that troubles the speaker. In the context of today, the poem can be read as referring to the pandemic, where things fell apart as the center could not hold, and the war in Ukraine, where innocence is drowned and people wait for revelation.
During Queen Elizabeth I's reign in the late 16th century, English literature flourished in what is known as the Elizabethan period. Major authors included Edmund Spenser, who wrote the epic poem The Faerie Queene celebrating Queen Elizabeth and the Protestant faith. William Shakespeare established himself as one of the preeminent playwrights with works like Romeo and Juliet and A Midsummer Night's Dream. Christopher Marlowe was also an influential early playwright known for plays like Tamburlaine the Great and Doctor Faustus. Overall, the Elizabethan period saw dramatic works develop into their own genre and established England as a leader in literature during the Renaissance.
Arguably the darkest of all Shakespeare's plays, Macbeth is also one of the most challenging. Is it a work of nihilistic despair, "a tale told by an idiot, full of sound and fury, signifying nothing," or is...
This document provides a concise summary of 1000 years of English poetry in 3 sentences:
Old English poetry from 500-1100 AD used alliteration and was focused on religion, history, and epic tales like Beowulf. Medieval poetry from 1100-1500 AD was influenced by the church and included works like The Canterbury Tales by Chaucer and Sir Gawain and the Green Knight. Renaissance poetry from 1500-1700 AD saw the rise of sonnets, including Petrarchan, Spenserian, and Shakespearean forms, as well as major works like Paradise Lost by Milton.
William Shakespeare is cllaed the Bard of Avan.
Shakespeare's influence is summarized nicely by Thomas Carlyle.
This King Shakespeare does he not shine, in crowned sovereignty, over us all, as the noblest, gentlest, yet strongest of rallying-signs; indestructible; really more valuable in that point of view than any other means or appliance whatsoever? We can fancy him as radiant aloft over all Nations of Englishmen, thousand years hence. From Paramatta, from New York, wheresoever, under what sort of Parish-Constable soever, English men and women are, they will say to one another, 'Yes, this Shakespeare is ours; we produced him, we speak and think by him; we are of one blood and kind with him. (Thomas Carlyle, The Hero as Poet, 1841).
This document provides summaries of several quatrains from Nostradamus' famous book of prophecies "Les Propheties". It describes prophecies that predicted major events like the death of King Henry II, the wars of succession in France after his death, the overthrow of the Persian monarchy during the Iranian Revolution, and the atomic bombings of Hiroshima and Nagasaki. It also notes that some texts claiming to be Nostradamus prophecies predicting 9/11 are actually fake and not written by Nostradamus.
The poem "The Second Coming" by W.B. Yeats describes a nightmarish vision of chaos in the world. It uses religious imagery of the Apocalypse and Second Coming to represent the atmosphere after World War I in Europe. The speaker sees a falcon unable to hear its falconer, and things falling apart with the center unable to hold. Anarchy is unleashed while innocence is drowned. The speaker wonders if a revelation is imminent, and if the Second Coming is at hand, given the shape of a lion-human figure moving in the desert sands that troubles his sight.
The document provides background information on the Allied invasion of Normandy on D-Day. It discusses how the invasion was the largest sea borne invasion in history. Extensive planning went into selecting the beaches and objectives. The Allies identified five beaches for the invasion - Utah and Omaha for the Americans, and Gold, Juno, and Sword for the British and Canadians. Airborne units would land on the flanks of Utah and Sword beaches. The main objectives for D-Day were to secure the beaches, key travel routes, and the city of Caen.
William Shakespeare was born in 1564 in Stratford-upon-Avon, England. He wrote 37 plays and 154 sonnets over the course of his career from the 1590s until 1611. His plays are categorized into four periods - early, middle, dark, and late - which progressed from apprenticeship to dramatic mastery. Some of his most famous works include Romeo and Juliet, Hamlet, Macbeth, and King Lear. Shakespeare died in 1616 and is considered one of the greatest writers in the English language for his influence and introduction of new words.
This document provides an overview of the poetic form of the sonnet over eight centuries, including its origins and evolution. It discusses key sonnet styles like the Petrarchan and Shakespearean forms. It also examines various literary devices commonly found in sonnets, such as rhyme schemes, meter, and the use of the couplet and quatrain. Finally, it profiles several famous poets who worked extensively in the sonnet form, from Petrarch in the 14th century to Wilfred Owen in the 20th century.
This document provides an overview of the history of English literature from the 9th century to the late 19th century. It summarizes key writers and literary periods, including Old English works, Geoffrey Chaucer and the Canterbury Tales, William Shakespeare and his plays, the Romantic period writers like William Wordsworth, and the development of novels by authors such as Daniel Defoe. The document aims to give students insight into the major influences and developments in English literature over this long time period.
The scene begins with sentinels Francisco and Barnardo discussing their night watch. When Horatio and Marcellus arrive, Barnardo recounts seeing the ghost of the late King Hamlet. When the ghost appears again, Horatio speaks to it but it will not respond. They determine they must tell Hamlet about the strange sightings. Horatio then explains that the recent military activity in Denmark is due to young Fortinbras planning to reclaim lands lost by his father in battle with King Hamlet.
The South Central Modern Language AssociationNiccolò Machi.docxssusera34210
The South Central Modern Language Association
Niccolò Machiavelli by Silvia Ruffo-Fiore
Review by: Paul G. Reeve
The South Central Bulletin, Vol. 43, No. 4, Studies by Members of SCMLA (Winter, 1983), pp.
132-133
Published by: The Johns Hopkins University Press on behalf of The South Central Modern Language
Association
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132 THE SOUTH CENTRAL BULLETIN Winter, 1983
BOOK REVIEWS
Continued
complicated relationships. Thus, the Comus entertainment
in September of 1634, Hunter tells us, is "somehow a
response" to the scandalous events which led to
Castlehaven's execution in 1631 and left a cloud over the
marriage-linked Spencers and Egertons. In creating this
"family piece" as a response to family commission, Milton
dramatized the Augustinian notion that "true chastity was
a mental condition that could not be altered by physical
assault," but he may have responded "too enthusiastically,"
Hunter suggests, because three passages stressing chastity
are omitted from the Bridgewater manuscript and thus in
all probability from the 1634 performance.
Hunter's "tentative promptbook" is based primarily on
the 1637 first edition with differences from the Bridgewater
manuscript indicated in footnotes; and he maintains that
Milton had a Ludlow performance in mind as he composed
the work. Hence Comus was not written as "a piece ofpoetry"
that Henry Lawes might freely adapt to the Ludlow scene.
Since Hunter contends that the performance occurred in the
inner bailey and not in the Great Hall, traditionally
accepted as the site, his stage directions address the outdoor
scene of the castle bailey. The most surprising change in
Hunter's promptbook is an opening song by the "Daemon"
that is extrac ...
The document provides biographical information about English poets John Dryden and Alexander Pope. It discusses Dryden's influential works An Essay of Dramatic Poesy and An Essay of Dramatick Poesie, focusing on the topics and characters debated within. It also summarizes Pope's famous didactic poem An Essay on Criticism, highlighting its structure, themes of criticism and literary ideals, and references to ancient writers. Both Dryden and Pope were major figures of the 17th-18th century neoclassical period in English literature.
Best Competitive Marble Pricing in Dubai - ☎ 9928909666Stone Art Hub
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How are Lilac French Bulldogs Beauty Charming the World and Capturing Hearts....Lacey Max
“After being the most listed dog breed in the United States for 31
years in a row, the Labrador Retriever has dropped to second place
in the American Kennel Club's annual survey of the country's most
popular canines. The French Bulldog is the new top dog in the
United States as of 2022. The stylish puppy has ascended the
rankings in rapid time despite having health concerns and limited
color choices.”
Best practices for project execution and deliveryCLIVE MINCHIN
A select set of project management best practices to keep your project on-track, on-cost and aligned to scope. Many firms have don't have the necessary skills, diligence, methods and oversight of their projects; this leads to slippage, higher costs and longer timeframes. Often firms have a history of projects that simply failed to move the needle. These best practices will help your firm avoid these pitfalls but they require fortitude to apply.
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1. On the discovery of a secret technique
employed by Shakespeare and Marlowe
for creative writing purposes
A Morten St. George Investigation
This essay presents evidence of an important discovery with regard to the
writings of the English playwrights William Shakespeare and Christopher
Marlowe. It may turn out be the most important discovery with regard to these
playwrights so far made in the 21st century.
What we discovered is a major source of inspiration for both, never before
noted for either, namely, a book in French containing the infamous prophecies
of Nostradamus. The influence of those prophecies is widespread across all the
plays of both playwrights and also applies to most of their poems.
The nature of this influence was two-fold, both technical and thematic. On the
technical side (effectively a tool to stimulate the imagination), three or four
words would be extracted from a prophecy having roughly twenty-five words,
translated into English, randomly scattered on paper, and then written around
to produce two or three lines of dialogue. An effort to find similar correlations
between Nostradamus and other playwrights of the epoch has led to nothing.
In other words, the correlations are unlikely to be coincidental.
1
2. On the thematic side, it is demonstrated that the content of the prophecies was
utilized to write plots for several plays, such as Marlowe's Tamburlaine and
Shakespeare's Macbeth. Dramatic concepts such as insanity, suicide and cross-
dressing are all shown to have derived inspiration from the prophecies.
We consider the prophetic interpretations of Nostradamus experts but only to
arrange our illustrations in normal chronological order, beginning with the
nuclear attacks on Hiroshima and Nagasaki, then on to the assassination of the
Kennedy brothers, the assassination of Martin Luther King, the lunar landing,
the Watergate scandal, and so forth. Wars in the Middle East and another in the
South Atlantic are not overlooked. Prophecies concerning all of the major
historical events of the second half of the 20th century were utilized by
Shakespeare and Marlowe in writing their plays.
In the London Themes section, we review the intriguing words of Shakespeare
and Marlowe in regard to the three famous prophecies of the 17th century,
namely, the beheading of Charles I in 1649, the Great Fire of London in 1666,
and the Glorious Revolution of 1689. For an illustration in the Theatrical Themes
section, we show how the Nostradamus prediction of the assassination of
Napoleon via arsenic in the wine influenced the plot of Hamlet.
2
3. In recent days we have been heavily criticized for inquiring if anyone thought
these prophecies were manifesting genuine foresight of the future. Let's clarify
something: we follow the chronology of Nostradamus only for entertainment
purposes or for ease of presentation and for no other reason. The main
objective of this essay is to acquire academic recognition for our sensational
discovery of the Nostradamus influence on Shakespeare and Marlowe.
Finally, note that this essay takes no stand on the Shakespeare Authorship
Question but the issue will be briefly discussed elsewhere. For now, it can be
assumed that Marlowe was first to utilize Nostradamus for creative writing
purposes and that he then taught those techniques to Shakespeare when they
shared authorship of the play Edward the Third.
3
4. In the 16th century, people sometimes used the letter "y" for an "i" while the
letter "i" could stand for a "j" and the letter "u" for a "v" or vice versa. French
and English matching terms are highlighted in bold.
PROPHETIC THEMES
Nostradamus:
L'oiseau royal sur la cité solaire,
Sept moys deuant fera nocturne augure:
Mur d'Orient, cherra tonnerre esclaire,
Sept iours aux portes les ennemis à l'heure [1, V-81].
The royal bird over the city of the Sun, Seven months beforehand shall make
nocturnal augury, The wall of the Orient shall fall, thunder illuminated, Seven
days to the ports the enemies to the hour [168 hours?]. Note that Nostradamus
decided to use and frenchify the Latin word "portis" (dative case), which can
mean either gates or seaports. Elsewhere we will find "port," seaport, in
unambiguous context.
Shakespeare:
Ham. Not a whit, we defy augury; there's a special providence in the fall of
a sparrow [2, Ham.].
Shakespeare:
And with my hand at midnight held your head;
And, like the watchful minutes to the hour [2, Jn.].
Theophilus de Garencières, who made the first English translation of the
Nostradamus prophecies in 1672, tells us "By the Royal Bird is meant an
Eagle" [3], but Shakespeare considers other possibilities, here the sparrow.
However, it is the word fall that seals the correlations, adding one last
4
5. component to take us beyond the realm of coincidence and validate
Nostradamus as the source.
Note that Nostradamus uses fall in the sense of the fall of an empire and
Shakespeare uses it to refer to the descent of a bird, but nevertheless the
terms equate for the purpose at hand.
Nostradamus:
Des sept rameaux à trois seront reduicts,
Les plus aisnez seront surprins par mort [1, VI-11].
Of the seven branches to three (they) shall be reduced, The oldest [plural,
implying the two oldest of the three] shall be surprised by death.
Shakespeare:
Or seven fair branches springing from one root.
Some of those seven are dried by nature's course,
Some of those branches by the Destinies cut [2, R2].
Dried by nature's course alludes to aging branches (the oldest) and cut
branches are branches that are quickly killed (surprised by death). We will
now repeat the second line and join it with the last two lines.
Nostradamus:
Les plus aisnez seront surprins par mort,
Fratricider les deux seront seduicts,
Les coniurez en dormans seront morts [1, VI-11].
The eldest [more than one] shall be surprised by death, To kill the two brothers
(they) shall be seduced, The conspirators [conjures] in sleeping shall die. And so
we see that the three of the first line were brothers and, presumably, the
remaining four (to bring the total up to seven) were their sisters.
5
6. Shakespeare:
And may ye both be suddenly surpris'd
By bloody hands, in sleeping on your beds! [2, 1H6].
In Nostradamus, the conspirators die of natural causes, i.e. are never
caught for their crime, but Shakespeare would prefer another outcome; he
also wishes he could help: "To rescue my two brothers from their death" [2,
Tit.].
The saga continues:
Nostradamus:
Du toict cherra sur le grand mal ruyne [1, VI-37].
From the roof evil ruin shall befall the great one.
Shakespeare:
Seeking that beauteous roof to ruinate [2, Son.].
Shakespeare draws two correlations from the lines that follow this
ruination:
Nostradamus:
Innocent faict mort on accusera:
Nocent caiché taillis à la bruyne [1, VI-37].
Innocent in fact [or of the deed] when dead he shall be accused, The guilty one
hidden: "taillis" to the "bruyne" where we note that "bruyne" [1, VI-37] [4, VI-
37] stands in sharp contrast to "bruine" [1, V-35] [4, V-35] as seen below:
there must be a "y" in the name of the guilty one!
Shakespeare:
KING. Wherefore hast thou accus'd him all this while?
DIANA. Because he's guilty, and he is not guilty [2, AWW].
6
7. Shakespeare:
To slay the innocent? What is my offence?
Where is the evidence that doth accuse me? [2, R3].
The location changes:
Nostradamus:
Lon passera à Memphis somentree [1, X-79].
One shall pass to [or pass away in?] Memphis somentree. The meaning of
somentree is unknown; perhaps it was intended to allude to a place where
we find Memphis? Garencières writes "This word Somentrees, being
altogether barbarous, is the reason that neither sense nor construction can
be made of all these words" [3]. Let's look at what Marlowe has to say about
this:
Marlowe:
Memphis, and Pharos that sweet date-trees yields [5, Ovi.].
Evidently, Marlowe too is unable to figure out what somentree (or
somentrees per Garencières) means, but at least he notices that it ends in a
recognizable English word: trees! Indeed, the hyphenated spelling date-
trees, as opposed to date trees, could be taken as a signal that trees is the
ending of a word. These trees are preceded by so, which by itself or as an
abbreviation for south or southern is also an English word, and so too with
men after that, another English word. Did Marlowe think they spoke English
in Memphis?
Shakespeare gives us "Than Rhodope's of Memphis ever was" [2, 1H6].
Rhodope is the name of a tree-infested mountain in Bulgaria, so perhaps
Somentrees really is a place with lots of trees!
This is the next verse of that prophecy:
7
8. Nostradamus:
Le grand Mercure d'Hercules fleur de lys [1, X-79].
The great Mercury of Hercules fleur-de-lys. Mercury was the god of commerce,
and Hercules represents force, giving the verse the following sense: the
great armaments trade shall flourish.
Shakespeare:
His foot Mercurial, his Martial thigh,
The brawns of Hercules; but his Jovial face- [2, Cym.].
Marlowe's assessment of that verse is far more profound:
Marlowe:
Besides, there goes a Prophesy abroad,
Published by one that was a Friar once,
Whose Oracles have many times proved true;
And now he says, the time will shortly come,
When as a Lyon, roused in the west,
Shall carry hence the fluerdeluce of France [6].
We find an allusion to the Pillars of Hercules in the penultimate line (as a
lion roused in the west). It combines with the fluer in the last line to give us a
correlation. This citation is from Edward the Third, a play that was published
anonymously and whose authorship was hotly debated among scholars for
centuries. Today, Shakespeare is believed to have written parts of it, and
Marlowe the passage that we cite [6].
The cited passage was spoken in France, so abroad in the first line implies
that the "Prophesy" (irregular spelling of Prophecy, a book of oracles) is of
British origin. In the third line, the phrase "Whose Oracles" is apparently
intended to refer to the Prophecy and not to the 12th-century Friar
8
9. (Geoffrey of Monmouth) who published it. Perhaps such confusions explain
why neither Shakespeare nor Marlowe wanted to stick their name on the
front cover of that play?
Nostradamus now takes us to a faraway place:
Nostradamus:
Dedans le coing de Luna viendra rendre,
Ou sera prins & mis en terre estrange,
Les fruicts immeurs seront à grand esclandre [1, IX-65].
Into a corner of the Moon he shall come to render, Where he shall be taken and
placed on strange terrain, The immature fruits shall be, by great scandal,
Garencières exclaims: "But what he meaneth by the Corner of Luna, I must
leave the judgement of it to the Reader, for I ingeniously confess that I
neither know City nor Country of that name" [3]. Shakespeare, for his part,
knows that Luna is the Moon and he leaves no doubt about it: "A title to
Phoebe, to Luna, to the moon" [2, LLL]. In Greek mythology, Phoebe became
a synonym for Artemis, the Greek moon goddess. Marlowe makes a
complex correlation out of it:
Marlowe:
And search all corners of the new-found world
For pleasant fruits and princely delicates;
I'll have them read me strange philosophy [5, Fau.].
On the immature fruits, Shakespeare writes "Then it will be the earliest
fruit i' th' country; for you'll be rotten ere you be half ripe" [2, AYL].
Shakespeare also takes a look at the third line combined with the last line:
9
10. Nostradamus:
Les fruicts immeurs seront à grand esclandre,
Grand vitupere à l'vn grande louange [1, IX-65].
The immature fruits shall be, by great scandal, Great vituperation, to the one,
great praise.
Shakespeare:
Oft have I heard his praises in pursuit,
But ne'er till now his scandal of retire [2, 3H6].
In Nostradamus, the praise (louange) is in pursuit in the sense that it follows
the scandal (esclandre) of the preceding line, but as events the great
scandal comes after the new-found Moon!
Around the same time, the surviving brother (as we saw, his two older
brothers were killed) runs into some trouble of his own:
Nostradamus:
Par detracteur calumnié à puis nay [1, VI-95].
The youngest brother slandered by a detractor. The "puis nay" is the after born
of male siblings.
Shakespeare:
To do in slander. And to behold his sway,
I will, as 'twere a brother of your order [2, MM].
Shakespeare links the French verb "calumnié" with the English noun
"slander," and next he reuses this correlation, changing "slander" from a
noun back into a verb:
Shakespeare:
your brother incensed me to slander the Lady Hero [2, Ado].
10
11. Marlowe employs a word not found in Shakespeare: "An eare, to heare
what my detractors say" [5, MP].
In the next prophecy, Nostradamus reveals himself to be a devout Catholic:
Nostradamus:
Apres le siege tenu dix- sept ans,
Cinq changeront en tel reuolu terme:
Puis sera l'vn esleu de mesme temps,
Qui des Romains ne sera trop conforme [4, V-92].
After the (Holy) See held for seventeen years, Five shall change in such revolved
term [a revolving of the numbers ten, seven, five, one?], Then the one shall be
elected of same time, Who of the Romans shall not be very conformable.
Variant: dixsept [1]. By of same time, it is implied that the non-Italian Pope of
the last line is the last of the five Popes who follow the Pope that reigned
for seventeen years.
Marlowe:
That doth assume the Papal government
Without election and a true consent [5, Fau.].
Marlowe:
POPE. Welcome, Lord Cardinals; come, sit down.--
Lord Raymond, take your seat [5, Fau.].
Popes are elected to the Chair (seat, "siege" in French) of Saint Peter by
Cardinals.
Shakespeare:
At all times to your will conformable [2, H8].
After the election of the new Pope, the action moves from Italy to the
Middle East:
11
12. Nostradamus:
Le Roy de Perse par ceux d'Egypte prins [1, III-77].
The King of Persia by those of Egypt taken. Persia is the old name of Iran.
Marlowe:
SECOND MERCHANT …
Of Persian silks, of gold, and orient pearl.
BARABAS. How chance you came not with those other ships
That sail'd by Egypt? [5, JM].
Marlowe fails to perceive that taken was used in the sense of being accepted
or taken in (given refuge) rather than in the sense of being carried or
captured, which doubtless explains why he ends with a question mark.
Nostradamus now takes us from Iran to neighboring Afghanistan:
Nostradamus:
Aries doute son pole Bastarnan [1, III-57].
Aries doubts its Bastarnan pole.
Marlowe:
MEPHIST. All jointly move from east to west in twenty-four hours upon the
poles of the world; but differ in their motion upon the poles of the zodiac
[5, Fau.].
The French Arie was the old name of Afghanistan but Marlowe sees the
Aryans as something in the zodiac! The Bastarnae were a people who
occupied Poland and the Ukraine during Roman times. Note that, contrary
to legend, Marlowe originates the great Tamburlaine in Scythia (an ancient
land covering the Ukraine and parts of Russia).
Later, perhaps just a few years later, the newly-elected Pope has
transformed himself into a great Pontiff:
12
13. Nostradamus:
De la partie de Mammer grand Pontife,
Subiuguera les confins du Danube:
Chasser la Croix par fer raffé ne riffe,
Captifs, or bague plus de cent mille rubes [4, VI-49].
From the part (or party) of Mammer, great Pontiff, (It) will subjugate the
frontiers of the Danube, To chase the Cross by iron, by hook or by crook,
Captivated: gold, bag more than one hundred thousand red things. Variants:
les croix, bagues [1].
The partie can refer to a region or to a political party while the fer can
represent any type of weapon made of iron. The raffé ne riffe is an Italian
expression, suggesting that Italy is the scene of action. Nonetheless,
Marlowe associates this attack on the great Pontiff (represented by the
Cross in the third line) with the country of Bulgaria since he ends a line with
Bulgaria immediately below a line ending with the Danube:
Marlowe:
Betwixt the city Zula and Danubius;
How through the midst of Varna and Bulgaria [5, 2Tam].
Zula, a bay at the southern end of the Red Sea, makes no sense in the given
context. More likely than not, Marlowe wishes to allude to the famed city of
Zara (see below) on the Adriatic Sea, on the opposite end of the Balkans
and which fits the context perfectly.
Since the Danube is a river, the mysterious Mammer of the first line may
also be a river. Allowing for manipulation to minimize chances of offending
someone, it could be the Memel (elsewhere Nostradamus gives us
"Mammel" [1] and Shakespeare the unique name "Mamillius" [2, WT]), a
major river of Eastern Europe.
13
14. At the end of the Nostradamus citation, the rubes is an adjective employed
as a noun (red things), but Garencières sees them as rubles: "A Ruble was a
coin of gold of the great Mogul, worth one or two pound sterling" [3].
Marlowe:
A hundred thousand crowns [5, JM].
Shakespeare:
The payment of a hundred thousand crowns; [2, LLL].
Shakespeare views the hundred thousand as a payment [to the
Bulgarians?] for services rendered [to hunt down the great Pontiff?].
Marlowe and Shakespeare each employ the hundred thousand in relation
to a currency (the crowns), so perhaps Garencières was not far off in
concluding that the rubes refer to rubles.
The attack on the Pope is again mentioned:
Nostradamus:
Prelat royal son baissant trop tiré,
…
Le regne Anglicque par regne respiré [1, X-56].
Royal prelate his baissant all shot up [with bullets?], … The Anglican reign by
reign breathes anew.
This prophecy indicates that the attack on the Pope will occur around the
time of an English royal wedding. The meaning of baissant is unknown.
Shakespeare likewise is unable to figure out what baissant means:
Shakespeare:
I cannot tell vat is baiser en Anglish [2, H5].
14
15. It is, however, somewhat mysterious where the Project Gutenberg found
these words because the First Folio reads a bit different: "I cannot tell wat is
buisse en Anglish," which is preceded by the words "baisee" and "baisant."
Immediately above buisse we find "Interpreter" which quickly leads us to
the true meaning of baissant: "Interpretez seront les extipices" [1], from
where we conclude Royal prelate his extispicy (intestines) all shot up. Was
Shakespeare afraid of offending the Papacy?
This brings us to the last line of that prophecy:
Nostradamus:
Long temps mort vif en Tunis comme souche [1, X-56].
Long time dead alive in Tunis like a stump. The expression dead alive like a
stump could refer to someone who became a human vegetable.
Shakespeare asserts: "Not he which says the dead is not alive" [2, 2H4].
And elsewhere: "And so in spite of death thou dost survive, In that thy
likeness still is left alive" [2, Ven.]. Marlowe and Shakespeare were both
impacted by the stump:
Marlowe:
Cut is the branch that might have grown full straight [5, Fau.].
Shakespeare:
And though we leave it with a root, thus hack'd [2, H8].
The meaning of Tunis is unknown because Nostradamus clearly uses the
spelling Tunes for the city of Tunis in another prophecy and in unmistakable
context. Tunis, therefore, is likely to be an acronym, contraction, or
abbreviation of the name of some country. Regardless, the event of the
human vegetable apparently occurs around the time of the attack on the
15
16. Pope which, as we just saw, occurs around the time of an English royal
wedding
It was noted that Nostradamus writes Tunis as "Tunes" and we will now look
at that:
Nostradamus:
Ceulx de Tunes, de Fez, & de Bugie:
Par les Arabes captif le Roy Maroq [1, VI-54].
Those of Tunis, of Fez, & of Bougie, By the Arabs the King of Morocco enticed.
Marlowe and Shakespeare both refer to Tunis [5, 2Tam] [2, Tmp.] and to
Bougie (Argier [5, 1Tam] [2, Tmp.]). For the king, Marlowe goes directly
with the King of Morocco [5, 1Tam] while Shakespeare gives us the Prince
of Morocco [2, MV], but only Marlowe mentions Fez:
Marlowe:
I here present thee with the crown of Fez [5, 2Tam].
The crown more or less equates with king to give us a correlation. Fez is a
city in Morocco, so perhaps that is where the King of Morocco is captivated
by the Arab cause. Besides North Africa, Arabs also live in the Middle East,
and therein this passage may connect with another Nostradamus
prophecy:
Nostradamus:
Cassich sainct George à demy perfondrez:
Paix assoupie, la guerre esueillera,
Dans temple à Pasques abysmes enfondrez [1, IX-31].
Encircled, Saint George to one half, demolished, Peace soporific, the war shall
be awoken, Within the temple on Easter-day, abysses opened up. The war
appears to be in full swing in the first line, but in the next line it is just
16
17. beginning, so the Easter abyss likely precedes, and perhaps inspires, the
war.
Shakespeare:
Saint George, that swing'd the dragon [2, Jn.].
By legend, Saint George killed the dragon near the city of Beirut, where
today we find Saint George Bay. Twice more Shakespeare correlates on
these lines:
Shakespeare:
Throng our large temples with the shows of peace, And not our streets
with war! [2, Cor.].
Shakespeare:
And in the temple of great Jupiter Our peace we'll ratify; seal it with feasts
[2, Cym.].
Here, both correlations make use of temple and peace. To make it a three-
word correlation, Shakespeare, in the first instance, goes with war, and in
the second instance he views Easter as a feast. Note that he says seal it with
feasts, that is, seal the correlations with the third equivalent term.
Attention now turns to a war out at sea:
Nostradamus:
… sur le pont l'entreprise,
Luy, satalites la mort degousteront [1, IV-89].
… upon the sea the enterprise, For it, satellites shall disgust the death. The first
meaning given by Latdict for the Latin verb "degusto" is to glance at. Note
the apocope of the Latin "pontus" for sea: "pont Euxine" [1], "Euxine Sea" [5,
Luc.], "Pontic Sea" [2, Oth.].
17
18. Marlowe:
And smite with death thy hated enterprise [5, Fau.].
Though Marlowe and Shakespeare consistently make heavy use of the
words of Nostradamus, for reasons unknown they both ignore the
satellites. Garencières, without comment, simply repeats and italicizes the
French word in his English translation.
The enterprise upon the sea suggests action taken by a fleet:
Nostradamus:
Angloise classe viendra soubs la bruine,
Vn rameau prendre, du grand ouuerte guerre [1, V-35].
English fleet shall come under the drizzle, To take a branch [of the British
Empire?], from the great one [Great Britain?]: open war. In the first line of this
prophecy we find "mer," sea, thereby making a fleet out of classe (a
frenchifying of the Latin word classis which could mean either army or
fleet).
The bruine comes from the Latin bruma or pruina both of which referred to
wintry weather. Note that the du grand is of masculine gender and hence
cannot apply to the guerre which is a feminine noun.
Shakespeare:
I shall be, if I claim by open war [2, 3H6].
This is the only instance of the expression open war in Shakespeare.
Presumably, with a reference to the sea inferable here (English fleet), the
aforementioned satellites played a role in the unleashing of that open war.
Meanwhile, the "English fleet" itself is nowhere at all to be found in the
official works of Shakespeare and Marlowe but we do find it fighting sulfur
battles in Edward the Third, in a scene attributed to Marlowe [6].
18
19. We now return to the Middle East:
Nostradamus:
De rouges & blancs conduira grand trouppe,
Et iront contre le Roy de Babylon [1, X-86].
Of reds and whites (it) shall conduct great troop, And (they) shall go against the
King of Babylon. Babylon is the old name of Iraq, and the reds and whites
may refer to the flags of a great military force.
Marlowe:
Shall mount the milk-white way, and meet him there.
To Babylon, my lords, to Babylon! [5, 2Tam].
Shakespeare:
Am I not of her blood? Tilly-vally,
lady. [Sings]
There dwelt a man in Babylon [2, TN].
While Marlowe correlates with the color white, Shakespeare alludes to red,
the color of blood.
Let's do one more:
Nostradamus:
Du ciel viendra vn grand Roy d'effrayeur,
Resusciter le grand Roy d'Angolmois [1, X-72].
From the sky shall come a great king of terror, To resuscitate the great king of
Angolmois.
Marlowe:
But, lady, this fair face and heavenly hue
19
20. Must grace his bed that conquers Asia,
And means to be a terror to the world [5, 1Tam].
With conquers Asia, Marlowe apparently views Angolmois as an anagram of
the French Mongolois, the Mongols, who were led by Genghis Khan to
conquer Afghanistan and much of Asia.
THE LONDON THEMES
It seems that our playwrights, particularly Marlowe, were utterly fascinated
by the city of London (the place where they lived and worked), so we will
here dedicate a few words to that city, starting with what appears to be a
surprising event.
Nostradamus:
Senat de Londres mettront à mort leur roy [1, IX-49].
Senate of London shall put their king to death.
Marlowe and Shakespeare take the same approach and stretch the
correlations across four lines:
Marlowe:
By yelping hounds pull'd down, shall semm to die:
Such things as these best please his majesty.--
Here comes my lord the king, and the nobles,
From the parliament. I'll stand aside [5, E2].
Shakespeare:
Have wrought the easy-melting King like wax.
He swore consent to your succession,
His oath enrolled in the parliament;
And now to London all the crew are gone [2, 3H6].
20
21. To your succession implies the death of a king and seals the correlations. But
London's troubles are far from over.
Nostradamus:
Le sang du iuste à Londres fera faulte,
Bruslez par fouldres de vingt trois les six:
La dame antique cherra de place haute [1, II-51].
The blood of the just in London shall make fault, Burnt by lightnings of twenty,
three the six, The antique dame [an old bitch?] shall fall from high place.
Marlowe:
This cursed town will I consume with fire,
Because this place bereft me of my love;
The houses, burnt, will look as if they mourn'd;
And here will I set up her stature [5, 2Tam].
For Marlowe, London is a cursed town because it is destined to burn to the
ground for fault (or lack) of just people, and this bereaves him. In
Nostradamus, the old dame falls from her high place and Marlowe may be
thinking that the prophecy refers to his beloved queen, so in the ashes of
the fire he wishes to renew her stature (position of power) or perhaps erect
a statue in her honor.
Shakespeare:
The fires i' th' lowest hell fold in the people!
Call me their traitor! Thou injurious tribune!
Within thine eyes sat twenty thousand deaths, [2, Cor.].
The fires fall from the high place to the lowest hell while the tribune gives
us a three, preceded by the twenty which we pick up in the next line.
21
22. Recovery from the fire does not lead to lasting peace and quiet as troubles
once again strike London.
Nostradamus:
Trente de Londres secret coniureront,
Contre leur Roy … [1, IV-89].
Thirty of London in secret shall conspire, Against their King … The
"coniureront" comes from the Latin "conjuro": to conspire, to form a
conspiracy.
Marlowe:
May enter in, and once againe conspire
Against the life of me poore Carthage Queene [5, Did.].
This is a three-word correlation: conspire at the end of the first line, against
at the beginning of the second line, and queen replaces king.
Shakespeare:
And now to London all the crew are gone
To frustrate both his oath and what beside
May make against the house of Lancaster.
Their power, I think, is thirty thousand strong [2, 3H6].
With his, a possessive adjective, substituting for their, it becomes a four-
word correlation. Here's the last line of that prophecy:
Nostradamus:
Vn Roy esleu blonde, natif de Frize [1, IV-89].
A King elected blonde, native of Frisia. Frisia is the old name of Holland.
Marlowe envisions a conspiracy that results in the removal of the first king:
22
23. Marlowe:
_Y. Mor._ Curse him, if he refuse; and then may we
Depose him, and elect another king.
But the French verse is grammatically confusing: A King (masculine) elected
blonde (female), native (male) of Holland. Since Nostradamus routinely
employs Latin syntax, we must assume that the blonde is in the ablative
case where one can express causal agency without the use of a preposition.
Thus, we must understand: A Dutchman elected King [of England] by
reason of a woman [his wife?]. Marlowe, however, fails to recognize the
Latin syntax and becomes appalled by the thought that a future king of
England will be a transvestite!
Marlowe:
But seek to make a new-elected king;
Which fills my mind with strange despairing thoughts,
Which thoughts are martyred with endless torments;
And in this torment comfort find I none [5, E2].
Nonetheless, Marlowe's whole line of thinking is curious because, in his
day, English kings were normally chosen by hereditary factors or by the
wishes of a reigning monarch, and not in open elections.
Shakespeare, likewise, fails to recognize the Latin syntax but is not
appalled. Instead, he succumbs to reality and creates instances of cross-
dressing in his plays!
MISCELLANEOUS THEMES
We will begin this section with a look at something different: natural
disasters instead of the usual human-made disasters.
23
24. Nostradamus:
Corinthe, Ephese aux deux mers nagera [1, II-52].
Corinth, Ephesus, to the two seas (it) shall swim. Note the use of the singular
"nagera" instead of the plural "nageront": the Latin language would use a
singular verb for two or more grammatical subjects only when those
subjects were synonyms. The first line of this prophecy says "Dans plusieurs
nuits la terre tremblera," During many nights the ground shall tremble,"
which makes us think the two seas are the waves of two earthquakes.
Corinth, once called Ephyra, might be in trouble.
Shakespeare:
Two ships from far making amain to us-
Of Corinth that, of Epidaurus this.
…
And, coasting homeward, came to Ephesus [2, Err.].
War follows:
Nostradamus:
Guerre s'esmeut par deux vaillans de luite [1, II-52].
War moved by two valiant in combat.
Marlowe:
And bloody wars so many valiant knights [5, E2].
Shakespeare:
Why, let the war receive't in valiant gore [2, Tim.].
But elsewhere we find a clarification: "Deux grands rochers long temps
feront la guerre [1]," Two great rocks [geological faults?] for long time shall
make the war, to which Shakespeare would add "The raging rocks / And
shivering shocks [2, MND]." Poor Corinth!
24
25. Let's now move away from shivering Greece and look for better places.
Nostradamus:
Ceulx d'Orient par la vertu lunaire [1, I-49].
Those of the Orient [East] by the lunar virtue.
Shakespeare:
It is the East, and Juliet is the sun!
Arise, fair sun, and kill the envious moon [2, Rom.].
The phrase by the lunar virtue can also allude to lunacy and lunatic. King Lear
and Lady Macbeth are two among several Shakespearean characters
endowed with madness.
Nostradamus:
D'vn gris & noir de la Compagne yssu,
Qui onc ne feut si maling [1, X-91].
Of one gray and black out of the Campaign issued [born], That never was there
one so evil. Things again turn ugly. This could be a military campaign whose
name begins with the letter "C" given that it is capitalized in the French text.
Shakespeare:
This act, so evilly borne, shall cool the hearts [2, Jn.].
Shakespeare combines the last two words of the bottom line with the last
word of the preceding line to get the correlation.
And now a few words for England:
Nostradamus:
Plus Macelin que Roy en Angleterre,
…
Lasche sans foy, sans loy saignera terre [4, VIII-76].
25
26. More Macelin than king in England, … Loose, without faith, without law, the
ground shall bleed. Variant: macelin [1].
Shakespeare:
Much work for tears in many an English mother,
Whose sons lie scattered on the bleeding ground [2, Jn.].
But Marlowe transfers the "without faith" from England to Asia:
Marlowe:
What cruel slaughter of our Christian bloods
These heathenish Turks and pagans lately made [5, 2Tam].
One can only wonder if Marlowe's pagan characters, forced upon him by
the prophecies, could be what gave rise to personal accusations of atheism
against him?
Here's an example where one of the parallel terms is purely conceptual.
Nostradamus:
Le Pánta chiona philòn mis fort arriere [1, IV-32].
The Panta Chiona Philon left far behind. Shakespeare appears to have no idea
what the Greek words refer to, so he classifies them as signs and tokens.
Shakespeare:
BIONDELLO. Faith, nothing; but has left me here behind to expound the
meaning or moral of his signs and tokens [2, Shr.].
Greek words make another appearance:
Nostradamus:
Kappa, Thita, Lambda mors bannis esgarés [1, I-81].
Kappa, Thita, Lambda bite banished astray.
26
27. Likewise, the signs and tokens make another appearance:
Shakespeare:
DEMETRIUS. See how with signs and tokens she can scrowl [2, Tit.].
Shakespeare's scrowl is a deliberate misspelling of the verb scrawl, which
means to write in a hurried and careless manner. How do we know that
Shakespeare misspelled it on purpose? That's easy. Just look at the French
verse: Nostradamus misspells Theta!
Note the bannis in that last verse. It's a word that Nostradamus reemploys
elsewhere:
Nostradamus:
Chassez, bannis & liures censurez [1, VIII-71].
Chased, banished, and books censured.
Without sealing a correlation, Shakespeare responds:
Shakespeare:
To mangle me with that word 'banished'? [2, Rom.].
Mangled? Seriously? Nostradamus only used it twice! "Why, this fellow hath
banish'd two on's daughters" [2, Lr.], and, lo and behold, banishment
mangles diverse sections of the Shakespearean canon. Marlowe too seems
to have been mangled with banish as he employs it frequently.
Nostradamus:
La terre & l'air geleront si grand eau,
Lors qu'on viendra pour Ieudy venerer [4, X-71].
The land and the air shall freeze so much water, When one shall come to
venerate on Thursday. Variant: ieudy [1], today spelled jeudi, Thursday.
27
28. Marlowe:
It was as blue as the most freezing skies;
Near the sea's hue, for thence her goddess came [5, HL].
Here we find five parallel terms in just two lines: air equates with skies;
geleront (will freeze) equates with freezing; eau (water) equates with sea;
viendra (will come) equates with came; and Ieudy (the god of Thursday
veneration) equates with goddess.
Shakespeare:
she makes a show'r of rain as well as Jove [2, Ant.].
A shower of rain equates with water and the French jeudi derives its name
from the Latin "Jovis dies," the day of Jupiter.
Nostradamus:
Feu grand deluge plus par ignares sceptres,
Que de long siecle no se verra refaict [1, I-62].
Fire, great deluge more by ignorant scepters, That, of long age, shall not be
seen remade. The phrase of long age effectively refers to the end of time.
Marlowe:
Time ends, and to old Chaos all things turn,
Confused stars shall meet, celestial fire
Fleet on the floods, the earth shoulder the sea [5, Luc.].
Here, Marlowe is making a translation of the Roman poet Lucan, so surely it
cannot contain a correlation with Nostradamus, right? Wrong. Antiquum
repetens iterum chaos, omnia mixtis, Sidera sideribus concurrent ignea
pontum, Astra petent, tellus extendere littora nolet. Much of it is there
including the fire, but where do you see the deluge (floods)? In his own
28
29. mind Marlowe could be linking the English fleet of V-35 with the activity
upon sea of IV-89 granted that Lucan uses the word "pontum" for the sea.
Shakespeare also has something to say about this:
Shakespeare:
Give me a staff of honour for mine age,
But not a sceptre to control the world [2, Tit.].
Like Nostradamus, Shakespeare views the scepter as an instrument that
yields enormous powers.
Shakespeare:
When went there by an age since the great flood [2, JC].
Nostradamus:
Le penultiesme du surnom du prophete,
Prendra Diane pour son iour & repos [1, II-28].
The penultimate of the surname of the prophet, Shall take a Monday for his day
and rest. Diana was the Roman Moon goddess.
Marlowe:
We are the Muses' prophets, none of thine.
What, if thy mother take Diana's bow [5, Ovi.].
Once again Marlowe seems more interested in his Nostradamus
correlations than in accurate translation. Pieridum vates, non tua turba
sumus. quid, si praeripiat flavae Venus arma Minervae. The Muses were the
inspiration of poets, not of prophets, and Minerva's weapon (a spear as in
Shake-spear) is transformed into Diana's bow.
29
30. Shakespeare:
PORTIA. If I live to be as old as Sibylla,
I will die as chaste as Diana [2, MV].
Sibylla is the Latin name of the first Sibyl at Delphi, who by legend was of
great antiquity. The Greek and Roman Sibyls were women famed for their
prophetic powers, essentially making Sibylla a synonym of prophetess and
thereby, with Diana, establishing a correlation.
Nostradamus:
Bien eslongnez el tago fara muestra [1, X-25].
A long way away, el tago shall make a display. Note that Nostradamus writes
this line in Spanish, pointing to a faraway place where that language is
spoken [the Andes?], and the derogatory El Tago suggests someone
infamous born in or near Toledo, famed city on the banks of the Tagus
River.
Marlowe:
To verse let kings give place and kingly shows,
And banks o'er which gold-bearing Tagus flows [5, Ovi.].
Ovid's original reads: cedant carminibus reges regumque triumphi, cedat et
auriferi ripa benigna Tagi! The Tagus is there but the rest is modified to give
us the shows (in the sense of more than one display). It is most curious that
Marlowe chose to translate sections of the works of Ovid and Lucan that
contained some of the rarer words found in Nostradamus (here the river
Tagus).
Shakespeare:
Before the tag return? whose rage doth rend
Like interrupted waters, and o'erbear [2, Cor.].
30
31. Shakespeare thinks raging waters allude to a river, whereupon his readers
will instinctively know to take the isolated o and tag it on to the word tag in
order to get tago. Ha.
Here's one about an unwanted war:
Nostradamus:
Quand istront faicts enormes & martiaux:
La moindre part dubieuse à l'aisnay [1, VI-95].
When there shall emerge enormous and martial deeds: The least part doubtful
to the eldest brother. The French "enormes" can also mean atrocious and the
"aisnay" would be the first born of male siblings. He would have to be the
eldest of the three brothers mentioned earlier, and perhaps his opposition
to this war was what led to his death?
Marlowe's correlation is simplistic:
Marlowe:
To some direction in your martial deeds [5, 1Tam].
Shakespeare also correlates on this:
Shakespeare:
Speak, Salisbury; at least, if thou canst speak.
How far'st thou, mirror of all martial men? [2, 1H6].
Note that "least" is now employed as a noun and not as an adjective but it
nonetheless gives us a correlation.
And Shakespeare again:
Shakespeare:
Reg. But have you never found my brother's way
To the forfended place?
31
32. Edm. That thought abuses you.
Reg. I am doubtful that you have been conjunct [2, Lr.].
This correlation seems doubtful but the conjunct at the end is suggestive of
looking for words on opposite ends of intermediary lines.
And now we turn our attention to an unidentified country, well frozen, and
described by an allusion to the name of the dynasty of its rulers:
Nostradamus:
Terroir Romain qu'interpretoit augure,
Par gent Gauloise sera par trop vexee:
Mais nation Celtique craindra l'heure,
Boreas, classe trop loin l'auoir poussee [1, II-99].
Territory Romain that interprets the augury, By Gallic people [the French] shall
be very much vexed: More, the Celtic nation [Germany] shall fear the hour,
Boreas [the North Wind], army too far the having pushed. The word classe,
which can mean either army or fleet, is here an army because of terroir in
the first line.
Marlowe:
Beats Thracian Boreas, or when trees bow own
And rustling swing up as the wind fets breath.
When Cæsar saw his army prone to war [5, Luc.].
Marlowe moves Boreas from line 389 in Lucan to line 391 in his translation
to bring it closer to Caesar's army and seal the correlation.
Shakespeare considers this prophecy to be beyond self-explication, that is,
pretty much impossible to comprehend:
Shakespeare:
Would be interpreted a thing perplex'd
32
33. Beyond self-explication. Put thyself
Into a haviour of less fear, ere wildness [2, Cym.].
THEATRICAL THEMES
Beyond the use of Nostradamus to stimulate the imagination, there are
signs of a wider influence. Here we will look at one example from Marlowe
followed by three examples from Shakespeare.
TAMBURLAINE THE GREAT
Nostradamus:
Le plus grand voile hors du port de Zara,
Pres de Bisance fera son entreprinse:
D'ennemy perte & l'amy ne sera,
Le tiers à deux fera grand pille & prinse [1, VIII-83].
The greatest sail out of the port of Zara, Near Byzantium it shall make its
enterprise, Of enemy, loss, and the friend shall not be, The third to two shall
make great pillage and seizure.
This appears to be one of several prophecies that may have inspired
Marlowe to write about Tamburlaine and his conquests. It was an
ambitious project for Marlowe: he tries to incorporate all the places
mentioned by Nostradamus from Scythia to Persia and then over to
Morocco. However, it seems that the real Tamerlane (d. 1405) concentrated
his conquests in Asia, so Nostradamus alone may have inspired the North
African conquests found in Marlowe's play.
Byzantium, an earlier name of Constantinople, brings the Turks into the
picture. Marlowe: "And think to rouse us from our dreadful siege, Of the
famous Grecian Constantinople" [5, 1Tam]. Note that Marlowe specifies
33
34. Grecian Constantinople: it was the Greeks who colonized Constantinople
and named it Byzantium.
Unlike the historical Tamerlane, who had noble origins, Marlowe gives his
Tamburlaine humble beginnings: a shepherd, who rises up to attain a great
empire through military conquests:
Nostradamus:
Lieu obscur nay par force aura l'empire [1, VIII-76].
Born in obscure place, by force he shall have the empire.
CORIOLANUS
Nostradamus:
Le grand Senat discernera la pompe,
A l'vn qu'apres sera vaincu chassé,
Ses adherans seront à son de trompe
Biens publiez, ennemis deschassez [1, X-76].
The great Senate shall discern the pomp, Of the one who afterwards shall be
vanquished, chased out, His adherents shall be, by sound of trickery, Public
goods, inimical things forced out. Note the apocope of tromperie to rhyme
with pompe as affirmed elsewhere: La cité prinse par tromperie & fraude, …
Luy & tous morts pour auoir bien trompé [1].
Twists of fate and reversals of destiny permeate the plays of Shakespeare,
and here we see a plausible inspiration for the concept. The story of
Coriolanus coincides well with the first two lines, but the prophecy does not
specify that this is a Roman senate and not some other senate. Indeed, the
"l'vn" being chased out here may be the same "l'vn" we saw earlier
receiving lunar praise prior to the great scandal.
34
35. On the correlation with "To whom he more adheres. If it will please you /
To show us so much gentry and good will" [2, Ham.], note that adherents (a
noun) equates with adheres (a verb) and that goods (a noun) equates with
good (an adjective). No one can question that Shakespeare was a master of
the parts of speech!
HAMLET
Nostradamus:
Le croisé frere par amour effrenee
Fera par Praytus Bellerophon mourir,
Classe à mil ans la femme forcenee
Beu le breuuage, tous deux apres perir [1, VIII-13].
The crossed brother by unbridled love, Shall make, by Proetus, Bellerophon to
die, Army (or fleet) to a thousand years, the woman enraged, Drink the
beverage, all two [both] afterwards to perish.
Bellerophon was the name of a great hero in Greek mythology; in later
times, it became the name of a renowned ship of the royal navy. The
meaning of to a thousand years is unknown. Nostradamus numbered this
prophecy VIII-13 (813).
In the third line, the woman, the sister of the high-ranking ecclesiastic
(Cardinals wore a cross) of the first line, becomes enraged by the military
defeat of one of the two who are poisoned in the last line. Thus, the
ecclesiastic, out of love for his sister and like Proetus in the myth, arranges
for someone to kill the defeated hero.
Citation from Wikipedia on Bellerophon:
35
36. "Proetus dared not satisfy his anger by killing a guest, so he sent
Bellerophon to King Iobates his father-in-law … bearing a sealed message
in a folded tablet: Pray remove the bearer from this world."
Citation from Wikipedia on Hamlet:
"Claudius, fearing for his life, sends Hamlet along with Rosencrantz and
Guildenstern to England with a note to the King ordering Hamlet to be
executed immediately."
Let's continue with Wikipedia on Hamlet:
"Gertrude drinks poisoned wine intended for Hamlet and dies. … In his own
last moments, an enraged Hamlet … manages to stab and wound Claudius
… and finishes him off by forcing him to drink his own poisoned wine.
Horatio attempts to commit suicide by drinking the poison … "
Oops! This cannot be. The prophecy says that two shall perish and two are
already dead from drinking the poison.
" … but Hamlet swipes the cup from his hands and orders him to live to tell
the tale."
That's better.
Claudius was Hamlet's uncle, and assuming that Shakespeare interpreted
the prophecy correctly, the killer of the poisoned hero would have to be his
uncle, that is, the enraged woman was his mother.
Shakespeare seems to be unsure if "Drink the beverage, both afterwards to
perish" refers to murder or suicide (but the second line of this prophecy
clearly implies murder), either by poison or by other means. In Romeo and
Juliet, both protagonists commit suicide after drinking something but only
one of the drinks was poison. Shakespeare also assumes that both deaths
36
37. are simultaneous or near simultaneous, but the prophecy says no such
thing.
Antony and Cleopatra gives us yet another example of a double suicide by
unbridled love.
Nostradamus:
Le sel, & vin luy seront à l'enuers, [4, IX-49].
The salt, and wine to it (they) shall be to the back [to the inverse?]. This looks
like the key to solving a riddle on the other side of the world!
Shakespeare:
We sent our schoolmaster; is 'a come back?
Love, I am full of lead. Some wine, [2, Ant.].
For sure, Shakespeare correlates on it but not until he writes Hamlet does
he realize that the prophecies had named a specific drink that could have
served as a vehicle for poison. Contrary to academic opinion, Hamlet or
parts of it were likely written after and not before Antony and Cleopatra. And
yes, it had to be poison in the wine that killed the son of the enraged
woman!
From a chronological point of view, Bajazeth and Zabina in a Marlowe play
[5, 1Tam] would be the first of the double suicides by unbridled love, each
by brain bashing, not by poison. What about the drinks? Marlowe chooses
"liquor" for Bajazeth and "milk" for Zabina. Amazingly, just like Shakespeare
prior to Hamlet, Marlowe fails to notice the dots connecting the deaths by
poison to the wine prophecy.
37
38. MACBETH
Nostradamus:
La chef de Londres par regne l'Americh,
L'isle d'Escosse tempiera par gellee:
Roy Reb auront vn si faux antechrist,
Que les mettra trestous dans la meslee [1, X-66].
The chief of London by reign of America, The isle of Scotland tempered by frost,
Roy Reb (they) shall have one so false Antichrist, Who shall put them all into the
melee.
In this one we return to London, Marlowe's favorite town, but it was
Shakespeare who got to write about it. The Americh at the end of the first
verse has to be America but the final letter was changed to achieve rhyme
with antechrist at the end of the third verse. The meaning of "Roy Reb" is
unknown. The edition of 1590 [1] puts a dot after the Reb (Reb.) suggesting
an abbreviation (but dots were not commonly used for abbreviations in
French). The accompanying verb clearly implies a plural subject, so perhaps
we should recall the two "Roy" of the griffin prophecy.
Scotland in the second line gives us the setting of Macbeth. Note the frost at
the end of that line in light of the following:
Shakespeare:
A woman's story at a winter's fire [2, Mac.].
Marlowe appears to be confused over the meaning of the antechrist:
Marlowe:
To wrack, an antechristian kingdome falles [5, MP].
Marlowe:
Wherewith thy antichristian churches blaze [5, E2].
38
39. In the first instance, antechrist means existing before Christ and in the
second instance it means fighting against Christ. Shakespeare, however, is
not confused: the Antichrist means blood and death, and combined with
the melee, wild killing.
And wild killing is exactly what we get in Macbeth. At the end of the play, an
English army (note the reference to England, via London, in the first line)
arrives to finish the slaughter.
Curiously, Shakespeare seems to be unaware that the Virginia Colony was
called America:
Shakespeare:
ANTIPHOLUS OF SYRACUSE. Where Spain?
DROMIO OF SYRACUSE. Faith, I saw it not, but I felt it hot in her breath.
ANTIPHOLUS OF SYRACUSE. Where America, the Indies? [2, Err.].
Could he have been hoping that someone in his audience would tell him
where America was located?
One final comment: It is quite mysterious why Shakespeare would want to
utilize this nonsensical prophecy. First of all, Nostradamus uses the word
"chef" (chief) rather than "roy" (king) found everywhere else for England.
Thus, the chief of London can only be the Mayor of London or perhaps the
Prime Minister of the entire country (no such thing in Shakespeare's day),
to whom, apparently, the Scots have a rather cold attitude. Moreover, it is
absolutely ludicrous to think that the Americans would be able to drag him
into the war of Marlowe's Antechrist or of his Antichrist.
CELESTIAL THEMES
In these illustrations, we turn our attention toward the heavens.
39
40. Nostradamus:
… cieux en tesmoings.
Que plusieurs regnes vn à cinq feront change [1, VI-2].
… heavens (or skies) in testimony, That many reigns one to five shall make
change.
Shakespeare:
HERMIONE. There's some ill planet reigns.
I must be patient till the heavens look [2, WT].
Note that the English reigns was extracted from Nostradamus as a noun but
in Shakespeare it got employed as a verb. Shakespeare is only looking at
the English translation in isolation. The same applies for one to five (an end
total of five) which equates with some in the sense of a few but is here used
in the sense of one or another. Elsewhere, we find the sequential
progression: "One to ten!" [2, 1H6].
In the next correlation, we travel to places rarely visited!
Nostradamus:
Par pluye longue le long du polle arctique:
Samarobryn cent lieux de l'hemisphere,
Viuront sans loy exempt de pollitique [1, VI-5].
By a long rain the length of the Arctic Pole, Samarobryn a hundred leagues
from the hemisphere, Living without law, exempt from politics.
Marlowe:
We mean to travel to th' antarctic pole,
…
When Phoebus, leaping from his hemisphere [5, 2Tam].
40
41. Wikipedia, in its article on Antarctica, notes that "Antarctica has no
indigenous population and there is no evidence that it was seen by humans
until the 19th century." Elsewhere, Marlowe clarifies that from his
hemisphere means upward into the sky: "Leaps from th' antartic world unto
the sky" [5, Fau.].
Shakespeare is cynical: "By the North Pole, I do challenge thee" which
evokes the response "I will not fight with a pole, like a Northern man" [2,
LLL].
The long rain along the length of the Arctic could allude to the essential
element of an Ice Age or, alternatively, to radioactive fallout, which, from
the days of nuclear testing in the atmosphere, is known to gravitate toward
the Poles.
A hundred leagues would place Samarobryn roughly one hundred and fifty
miles above the ground; thus, Marlowe and Shakespeare are in agreement
that Samarobryn lives high in the sky. Moreover, Shakespeare envisions life
in orbit at even greater distances:
Shakespeare:
Hang in the air a thousand leagues from hence [2, 1H4].
Hang (suspended) in the air assures us that the distance is upward into the
sky, and Shakespeare then replaces the hundred of Nostradamus with a
thousand to make it a double correlation. He has more to say:
Shakespeare:
Corrupted, and exempt from ancient gentry?
His trespass yet lives guilty in thy blood [2, 1H6].
Here the verb "lives," a variation of "living," seals the correlations. The
question mark at the end of the first line suggests that Shakespeare may
41
42. have been confused over the meaning of politique and, indeed, the English
words "politics" and "political" are nowhere to be found in the works of
Shakespeare, nor in Marlowe for that matter. Curiously, the original
"politique" [4] of Nostradamus inexplicably appears in the English-language
dedicatory to a publication (1598) of Marlowe's Hero and Leander.
For our part, we have no problem in surmising that Samarobryn was quite
fortunate to get away from the political nonsense of the ancient gentry
living on the ground below!
Let's now go farther out into space.
Nostradamus:
Venus cachée soubs la blancheur, Neptune,
De mars frappé par la grauée blanche [4, IV-33].
Venus hidden under the whiteness, Neptune, From Mars struck through the
white gravel. Variants: no comma (,) before Neptune, Mars, frappée, granée,
branche [1].
Shakespeare confesses that he is confused by the high (in the sky) gravel:
Shakespeare:
LAUNCELOT. [Aside] O heavens! This is my true-begotten father, who,
being more than sand-blind, high-gravel blind, knows me not. I will try
confusions with him [2, MV].
By twice using the word blind (beginning with "bl") both before and
immediately following the gravel, Shakespeare seems to think that the
textual variant "blanche" (and not the more frequently seen "branche") is
the correct word for the French text of the prophecy. As for the meaning of
the white gravel, one possibility would be the tail of a comet. Indeed,
Nostradamus alludes to the forthcoming appearance of Halley's Comet in
42
43. 1607 when he refers to an increase in "astronomes" for the year mil six cens
& sept [1, VIII-71].
Elsewhere, Shakespeare again views the gravel as grains of sand:
Shakespeare:
And sat with me on Neptune's yellow sands [2, AMD].
Note that yellow is also marked in bold since it is merely a change of color
(from the white of Nostradamus). And once again Shakespeare seems to
think that "blanche" and not "branche" is the correct word. How was he so
sure about that?
Nostradamus:
Quand le Soleil prendra ses iours lassez,
Lors accomplir & mine ma prophetie [1, I-48].
When the Sun shall take its (or his) tired days, Then to accomplish and
terminate my prophecy. Variant: accomplit [4]. Here Nostradamus is
referring to the termination of all his prophecies as a collection (in other
words, this would be the last prophecy), similar to how Marlowe used "a
Prophesy" [6] to refer to a book of individual oracles still in the process of
fulfillment.
At the end of the first line, the first complete edition (1590) changed the
"lassez" of the partial editions of 1588 and 1589 to "lassés," but this was
changed back to "lassez" in both of our definitive editions. Thus, the
"lassés," a word meaning tired, has to be incorrect. It makes us think of an
effort to frenchify (mainly an alteration of the vowels) the Latin "lessus,"
which, in the genitive case, would give us days of wailing or simply days of
tears. Shakespeare may have envisioned teardrops on the surface of the
Sun: "Suns of the world may stain, when heaven's sun staineth" [2, Son.].
43
44. Sunspots? Yes, Shakespeare is probably referring to sunspots. They were
discovered by astronomers, including Galileo, between 1610 and 1612, but
Shakespeare published his sunspot observations in 1609!
Shakespeare:
Disasters in the sun; and the moist star
Upon whose influence Neptune's empire stands
Was sick almost to doomsday with eclipse [2, Ham.].
Are we to believe that Shakespeare, already centuries ahead of our
scientists with regard to life in orbit, beats them again in predicting that the
end of our solar system (doomsday) will result from the expansion and
collapse of our Sun (Disasters in the sun)?
Venus is described as the moist star. Marlowe uses the words "night-
wandering, pale, and wat'ry star" [5, HL]. Surely, Marlowe's Venus is pale
because she is sick with eclipse but later she comes out of the shadows to
become Shakespeare's "bright star of Venus" [2, 1H6]. Note also that, in
both cases, the concept of wetness is based on association with Neptune,
named after the Roman god of the sea.
Above, we saw that Venus is hidden (cachée) under the whiteness, implying
an eclipse of celestial entities. Though Shakespeare, for reasons unknown,
seems to have failed to recognize Kappa, Theta, Lambda as a triangle of
sting stars, he likely concluded, or suspected, that Neptune (seen by Galileo
but not officially named until 1846!) had to be something in the heavens.
Marlowe, of course, concurs with this point of view:
Marlowe:
FAUSTUS. How many heavens or spheres are there?
MEPHIST. Nine; … [5, Fau.].
44
45. Faustus refers to eclipses in a follow-up question. At hand, leaping from
seven (the classical spheres of Sun, Moon, Mercury, Venus, Mars, Jupiter
and Saturn) to nine requires the addition of both Earth (post Copernicus)
and Neptune. Confirmation comes from elsewhere:
Nostradamus:
D'humain troupeau neuf seront mis à part,
De iugement & conseil separez [1, I-81].
Of human flock, nine shall be placed apart, Of judgment and counsel
separated.
Shakespeare wrote about the "Nine Worthies" [2, LLL] and also about the
"nine sibyls" [2, 1H6], but Marlowe intelligently noticed that the devoid of
judgment and counsel could indicate that these were nine inanimate objects,
inferring nine planets in the solar system of us humans. In all fairness to
Shakespeare, however, we must admit that in the end he finally figured it
out, giving us "nine moons" [2, Oth.] which comes close enough.
And did we forget to mention an early vignette [4] that displays
Nostradamus observing nine celestial bodies? Could the "choses celestes
visibles" [1] (from the prose introduction) have made it easy to imagine the
existence of celestial things that were not visible? Curiously, on April 15,
1781, a little more than a month after the discovery of the planet Uranus,
the Papal Court issued a Bull threatening excommunication and the galleys
to anyone who dared to read the prophecies of Nostradamus! Perhaps
Shakespeare knew what he was doing when, as we saw, he went out of his
way to avoid offending the Papacy!
45
46. A BRIEF NOTE ON CORRELATIONS
Let's start with another look at how the prophecies and our English
playwrights make symbolic use of Greek mythology:
Nostradamus:
Comm'vn Gryphon viendra le Roy d'Europe
Accompagné de ceux d'aquilon [4, X-86].
Like a griffin shall come the king of Europe, Accompanied by those of the North
[NATO?]. Variants: Comme vn gryphon, de l'Aquilon [1].
Aquilon, like Boreas seen earlier, was a classical name of the North Wind
and as such could represent anything northern. Nostradamus also uses it
as an adjective in relation to the conquest of the northern part of an
Oriental country (the "Ceulx d'Orient" prophecy): Subiugant presque le coing
Aquilonaire [1, I-49].
Shakespeare:
The Queen with all the northern earls and lords
Intend here to besiege you in your castle.[2, 3H6.].
The griffin was a mythical animal with the head of an eagle and the body of
a lion. Needless to say, the American eagle and the British lion could never
combine to exert influence over Europe!
Marlowe:
(Auster and Aquilon with winged steeds, [5, 1Tam].
The griffin is often depicted with wings. However, Shakespeare notices that
this is particular griffin is kingly, so he removes the wings: "A clip-wing'd
griffin" [2, 1H4].
46
47. Shakespeare:
Out-swell the colic of puff Aquilon'd [2, Tro.].
This is actually a two-word correlation as Shakespeare reverses the d' of
Nostradamus and puts it at the end.
While Aquilon and the griffin were easy enough to spot in the works of
Marlowe and Shakespeare, some of the parallelism is much more difficult
to recognize and that is the point we are trying to make here: computer
searches cannot find all of the correlations.
Marlowe:
Such Ariadne was, when she bewails,
Her perjured Theseus' flying vows and sails. [5, Ovi.].
Shakespeare:
Madam, 'twas Ariadne passioning
For Theseus' perjury and unjust flight. [2, TGV].
Nostradamus, however, does not mention Ariadne or Theseus anywhere in
his text, but look at the following:
Nostradamus:
Chassez bannis & liures censurez,
L'an mil six cens & sept par sacre glomes. [1, VIII-71].
Chased out, banished, and books censured, The year thousand six hundred &
seven by sacred ball of thread.
Key to solving this is the word "glomes," a frenchifying of the Latin glomus
which refers to a ball of thread. In Greek mythology, Ariadne gave a ball of
thread to Theseus so that he could find his way out of the Labyrinth of
Crete. Meanwhile, the citations refer to fleeing and flight which connect with
Chased out, banished and seal the correlations.
47
48. One further word of advice for researchers wishing to expand on this
investigation (there are an unknown number of correlations remaining to
be found): Rely as much as possible on the original text of the First Folio or
the Second Folio. Recall the I cannot tell wat is buisse in Anglish where the
Project Gutenberg changed buisse to baiser because it made more sense,
inadvertently damaging chances to find a correlation. Even worse, in the
Third Folio, Anglish was changed to English (as if Shakespeare did not know
how to spell that word!), severely upsetting the correlation with Anglicque.
THE INCANTATION
Beyond the prophecies on which Marlowe and Shakespeare correlate, the
Nostradamus text contains one unnumbered incantation written entirely in
Latin. Unlike the prophecies, it has a title: Legis cantio contra ineptos
criticos, Incantation of the Law Against Inept Critics.
Nostradamus:
Quos legent hosce versus maturè censunto,
Profanum vulgus, & inscium ne attrectato,
Omnesq; Astrologi Blenni, Barbari procul sunto,
Qui aliter facit, is ritè, sacer esto [1].
Let those who read these verses, consider them maturely, May the profane, the
vulgar, and the ignorant be not attracted, That all Astrologers, Retards,
Barbarians stay far away, He who does otherwise, be he sacred by rite.
Shakespeare:
EVANS. It is qui, quae, quod; if you forget your qui's, your quae's, and your
quod's, you must be preeches. Go your ways and play; go [2, Wiv.].
Scholars believe "preeches" is a misprint for breeched, from where we
would surmise you must be spanked. By misspelling "b" as "p," Shakespeare
48
49. draws attention to a word beginning with the letter "b": Blenni refers to
stupid people and fits perfectly well with forgetting your quod's.
Shakespeare:
But stay, I'll read it over once again.
QUEEN. Ah, barbarous villains! … [2, 2H6].
To read it over once again equates with to read it maturely, and elsewhere
Shakespeare gives us yet another "Read it again" [2, AWW]. Indeed, to
understand the mind of Shakespeare, and how he arrives at some of the
strange things that he says, it could be helpful to go back and read our
illustrations once again.
As for the barbarous, note that Barbari alludes to people who would be
unfamiliar with the Latin language, of which French is a derivative. And it
certainly looks like Shakespeare took extreme measures to evade barbarian
status: beyond a sprinkling of Latinates everywhere, his Henry the Fifth play
includes French dialogue! Indeed, one can only wonder if "criticos" from the
title line of the Incantation inspired his creation of the English word
"critical," and so forth.
Finally, please note that Shakespeare fears (perhaps literally) not adhering
to the Incantation’s condemnation of astrologers: he writes a bunch of
history plays for epochs when kings and queens would often adhere to the
guidance of their personal astrologer, but nowhere in his massive canon
(laden with witches, soothsayers and the like) do we find the words
"astrology" or "astrologer"!
49
50. REFERENCES AND NOTES
1. LES PROPHETIES DE M. MICHEL NOSTRADAMVS. Dont il y en a trois cens
qui n'ont encores iamais esté imprimées. Adiouftées de nouueau par ledict
Autheur. A LYON, PAR BENOIST RIGAVD, 1568.
Several printings of this edition (a revision of the Rousseau edition of 1590) are
still extant. The specific printing cited for our illustrations was labeled Chomarat
96 by bibliographers, and a facsimile of it is available for free download in PDF
format from the website propheties.it. Roman numerals from I to X were used to
number ten groups of one hundred prophecies, and within each group Arabic
numerals from 1 to 100 were used to number each individual prophecy.
2. The Project Gutenberg eBook of The Complete Works of William
Shakespeare, by William Shakespeare:
Ado, Much Ado About Nothing; Ant., The Tragedy of Antony and Cleopatra;
AWW, Alls Well that Ends Well; AYL, As You Like It; Cor., The Tragedy of
Coriolanus; Cym., Cymbeline; Err., The Comedy of Errors; Ham., The
Tragedy of Hamlet, Prince of Denmark; 1H4, The First Part of King Henry
the Fourth; 2H4, Second Part of King Henry IV; H5, The Life of King Henry
the Fifth; 1H6, The First Part of King Henry the Sixth; 2H6, The Second Part
of King Henry the Sixth; 3H6, The Third Part of King Henry the Sixth; H8,
King Henry the Eighth; JC, The Tragedy of Julius Caesar; Jn., King John; LLL,
Love's Labour's Lost; Lr., The Tragedy of King Lear; Mac., The Tragedy of
Macbeth; MM, Measure for Measure; MND, A Midsummer Night's Dream;
MV, The Merchant of Venice; Oth., The Tragedy of Othello, Moor of Venice;
R2, King Richard the Second; R3, King Richard the Third; Rom., The Tragedy
of Romeo and Juliet; Shr., The Taming of the Shrew; Son., The Sonnets; TGV,
The Two Gentlemen from Verona; Tim., The Life of Timon of Athens; Tit.,
The Tragedy of Titus Andronicus; Tmp., The Tempest; TN, Twelfth Night, Or,
50
51. What You Will; Tro., The History of Troilus and Cressida; Ven., Venus and
Adonis; Wiv., The Merry Wives of Windsor; WT, The Winter's Tale.
Correlations with Nostradamus permeate all thirty-six plays of the First Folio,
his first poem, and his Sonnets.
3. THE TRUE PROPHECIES OR PROGNOSTICATIONS OF Michael
Nostradamus, PHYSICIAN TO Henry II. Francis II. and Charles IX. KINGS of
FRANCE … Translated and Commented by THEOPHILUS de GARENCIERES,
Doctor in Physick … LONDON, Printed by Thomas Ratcliffe, and Nathaniel
Thompson, … 1672.
A facsimile cam be viewed online at Google Books and citations can be found
via Google search. This book follows the Nostradamus numbering system.
4. LES PROPHETIES DE Me. MICHEL. NOSTRADAMVS. Dont il y en a trois
cens qui n'ont encores iamais esté imprimees. Adioutees de nouueau par
ledict Autheur. A LYON, PAR IEAN HVGVETAN M.DC.XXVII.
Technical analysis reveals that this edition (which may be a copy of an earlier
edition that is now lost) was very likely the printing of a backup manuscript and
thus it has considerable value despite the late publication date. A facsimile is
available for free download in PDF format from the website propheties.it.
5. The Project Gutenberg eBook of The Works of Christopher Marlowe,
Individual Plays by Christopher Marlowe:
1Tam, Tamburlaine the Great, Part I; 2Tam, Tamburlaine the Great, Part II;
Did., The Tragedy of Dido Queene of Carthage; E2, Edward II; Fau., The
Tragical History of Dr. Faustus; HL, Hero and Leander; JM, The Jew of Malta;
Luc., First Book of Lucan; MP, Massacre at Paris; Ovi., Ovid's Elegies.
These works are a free download. Note that Marlowe, having died young, wrote
far less than Shakespeare, thus the heavy correlations with Nostradamus are
51
52. especially significant. Those correlations permeate all of his plays, his major
poem, and his manipulated translations.
6. Project Gutenberg Etext of The Reign of King Edward the Third,
attributed in part to William Shakespeare.
Wikipedia, in its article on this play, notes that Act III, Scenes i and ii, from
where our citations come, were attributed to Marlowe by Hartmut Ilsemann
(2014).
Original source:
http://mortenstgeorge.net
More information on the themes of this essay is available on the sub-pages of
that website.
Author Contact:
morten@mortenstgeorge.net
52