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Alas, the formatting of QT scrambles the configuration of Shakespeare's name that I presented earlier on this list that is otherwise so evident in the quarto original of the 47th stanza of Shakespeare's A Louers Complaint. I will try again to reproduce it below. using "/" as a spacer representing letters and word spaces:

                     s
                     ch
                     e///r
                      s sp
                         o
                         r
 
The poet's surname is read from the top line in a descending hook form, downward from the "s" on a diagonal left to the "h" and then left to the "c" beside it. From there, continue down through "e" and then "s" (s-hc-e-s). Next, read right to another "s" and to the "p" beside it, and then directly up to the "r" above, to read s-hc-e-s sp-r," almost all in consonants (s-h[a]c-s sp[ea]r). I included also a second rendering of the second syllable of the surname in the stanza that reads "sp-o-r" that descends directly from the "p" -- a redundancy in rendering that reinforces the name.

The poet's first name is phonetically rendered in a "U" configuration as "W-YL-L," reading right to left from the "w" in "gloWed" on the second line, picking up the "YL" in "fLYe" on the line below and up again to the "L" in the original "gLowed." It appears again starting from the "W" in "bestoWed" on the fourth line that, reading upward, similarly picks up the earlier "YL-L" as "W-YL-L" -- another reinforcing redundancy, not to mention the "W-ll" that is to be found at the right stanza edge toward the bottom. Here they are below in configuration shown in capitals:

                 gLoWed
                  fLYe
               bestoWed
and:

     ll
    W

As I mentioned, this happens a few times throughout the stanzas, in numbers that tell that this is hardly the product of accident.

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Ben Alexander and I agree that the author of the Sonnets also
authored A Lover's Complaint. That was the thrust of my comment
earlier to this list.

My conclusion is based on the fact that you can find the
author's signature in some of the stanzas of A Lover's
Complaint. Take for example the device in stanza 47, the
last stanza, in which you can find the readings (mostly
consonants as in a shorthand version and the use of phonetic
representations), "s-hc-e-s sp-r" and "w-yl-l" (twice) and
"W-ll" as follows below. Check it out in the original quarto
facsimile:

                      s
                     ch l w
                     e r ly
                      s sp w

 ll
W

Obviously, only the author could have written a poem which
incorporates within it those configurations. The chance that
it is totally accidental because ever less credible with the
frequency of such appearances. Would an author, not Shakespeare,
have deliberately placed such devices in his poems.

Ben Alexander provides a terrific yarn and I would love to see
it in a film but with no thought that it could in any way tell
the story of the author of the Sonnets or others of Shakespeare's
work. (Read my earlier comment on this list for some further
background.)

David Basch

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Dear Stefan,

Yes, A Lover's Complaint is by the same author as the Sonnets who was Mary Fitton. The character Antissia in Mary Sidney Wroth's Urania is based on Mary Fitton and Wroth told the same story that I discovered independently. She wrote that Antissia was close to madness and wrote frenzied poetry and this concurs with the strangeness in A Lover's Complaint. The style is very similar to the commendatory poem to Richard Barnfield's 1595 Cynthia written by T.T. (surely NOT Thomas Thorpe!). Barnfield replied in a short poem to a mistress with a sacred name.

I can assure any reader is that I have not needed to use imagination, one can find Mary Fitton & William Herberts (Mr. W. H.) names hidden six times in Sonnets 122 / 123 / 124. I have worked out that her phonetic monogram was Fit-t-on, i.e. a conjoined double T, and she signed her name Phytton. The double comma in the first line of Sonnet 122 as printed in 1609 was not a typo but a clue to take the first two letters of the ensuing words and rearrange them. That line also starts with TT and the initial letters of the rest of the lines produce more evidence.

In my book, the Darling Buds of Maie I was neutral about Aemelia Lanier being the Dark Lady. I now know she had nothing to do with the Sonnets. Where we all went wrong was putting our faith in Sonnets 138 and 144 which had first been seen 1599's The Pasisonate Pilgrim. Thir insertion late in the sequence was a trick to confuse the whole chronology, and it worked for 400 years. Sonnets 127-152 (except 138 & 144) were written in parallel with sonnets 1-127.

Mary Fitton was William Herbert's mistress from about 1600 to 1607. Mary Wroth was his Mistress from 1614, and also his first cousin. I think (but do not know) that she was the other poet. "Captain ill" (S66) was either Admiral Sir Richard Leveson, Mary Fitton's cousin, or her first husband, Captain William Polewheel. I suspect that the "jewels in the carconet" (S52) was a brooch called "The feather of Diamonds" that William Herbert bought in May 1601 for £1,500.

Lastly, the brethren to whom the First Folio was dedicated were William and Philip Herbert. Philip was married in 1605 to Susan de Vere, daughter of Edward de Vere, 17th Earl of Oxford. Philip lived from 1603 to 1619 in a house owned by William Herbert along the banks of the Wiltshire Avon in a hamlet called Stratford sub Castle. Readers should have a proper look at Shakespeare's will that can be downloaded from the Internet, especially the bequest to Burbage, Heminge and Condell. This was written between the lines, in a different hand, by someone who spelled differently. Why does nobody ever mention this? Why is only a small portion of the copy of the will displayed in the Stratford Shakespeare Museum?

My reported findings are based on facts. They are findings that people who have gone down the wrong alleys cannot face. It is like Cinerella's slipper, it fits on (pun intended).
Ben Alexander

www.maryfitton.com

Oh, yes LC is WS's work. So leaving it out of the Complete Works is terrible.

Concerning A Lover's Complaint, I have reason to believe that this
was the work of William Shakespeare. It was put in with the Sonnets
in order to set the context as disappointed love, which both ALC and
the Sonnets share.

In both, love offers mixed rewards and finds the main character
in each unswerving in the wish to have satisfying outcomes from the experience of love.

The point in each is that the pursuit of these things is the divine plan. Hence, while we live, assuming health, we will strive to succeed in such
activities. The two sets of poems reinforce each other in this, with the Sonnets presenting these ideas in allegory and giving more details on our various spiritual selves involved in such activities.

Ben Alexander is the victim of reading in his own thoughts and preoccupations, superimposing these on to an incomplete, unknowable, factual historical record. It may make a great movie but it is not
history or Shakespeare biography.