Have a nice day as we hear Shakespeare’s “best painter’s art” of perspective wherein Apollo in sonnet 24 “Delights to peep, to gaze therein on thee”. For the sun gazes through the windows made by the eyes of Henry Wriothesley hanging in Shakespeare’s heart. Given Apollo gazes into the windows of eyes that are painted in sonnet 20 also, let us remember in sonnet 20 he paints “An eye” that is a single eye and that is as in an understanding of “If your eye is single your whole body shall be filled with light” (Matt 6:22). The Bard from Stratford upon the Avon River paints a portrait of Henry as a “new creation”. That is to suggest “the master mistress of my passion” is a “new creation” whose eyes illume “gilding the object whereupon it gazeth”. And therefore the sun’s delight that is so evident in sonnet 24 is as in an understanding of golden shafts of super natural light bathing over Apollo. The “master-mistress” of Shakespeare’s spiritual passion is a “new creation” (See 2 Corinthians 5:17) filled with the light of God; filled with love and mercy and therefore loving and mercy full for that is the true nature of the God of Love.
However, to make his rival poet tongue-tied speaking of fame as in sonnets 20 and 24, Marlowe’s “slack” muse sings of Leander’s eyes filled Cupidian fire and as from a Ganymede turned. Further Marlowe’s Ganymede in “Dido Queen of Carthage” when to a Leander turned scorns Hero with “murderer’s eyes”. At first Phebe gives the lie direct to Leander’s “murderer’s eyes” but her encounter with Shakespeare’s Ganymede has her rethinking Marlowe. In aside we learn “Dead shepherd now I find thy saw of might, Who ever loved that loved not at first sight?'”. Further reflection has her remember what Ganymede had to say to scorn at her. She remembers him telling her that she is a dark lady in compare to “Hero the fair” when going to bed with Leander in the dark. Phebe answers being scorned by Shakespeare’s Ganymede with a taut pour taut meaning he is “a beast” like Leander with “murderer’s eyes” wherefore like Hero scorned by Leander she also will have to die. However in the meantime she offers herself and “all that she can make” before she has “to study how to die”. What she means by “and all that she can make” is compare to all that Hero makes after Hero goes to the bed with Leander. For after Hero goes to bed with Leander she makes a “false morne”. Phebe is a clown. She is funny. She gets laughs by borrowing from Marlowe’s verses including verses omitted and therefore missing “to the gentle air” of the “liking” of Sir Thomas Walsingham.
Shakespeare’s “As You Like It” made “more agreeable” gets laughs making verses omitted from Walsingham’s foster child what with Edw Blunt touting Walsingham as Marlowe’s “friend” who owes Marlowe a “duty” to make his “half finished Tragedy” breathe abroad “more agreeable and thriving” as his foster child than if “under any other foster countenance whatsoever”. But that means or that includes the foster countenance of the God of Messiah and more agreeable from Shakespeare’s perspective of love shows the quality of mercy that Shakespeare’s Balthazar speaks of in “The Merchant of Venice” what with Balthazar “a maid in a man’s attire” a spin on “the master mistress” of Shakespeare’s spiritual passion as is Shakespeare’s Rosalind qua “maid in a man’s attire” not made for amorous play like Marlowe’s Leander but made for the love of God to be shed abroad in her heart incognito as Ganymede. Shakespeare makes his Ganymede in compare to Marlowe’s Ganymede to a Leander turned more agreeable by making him more like the image of God that is a “new creation” in sonnets 20 and 24 and an image of Henry who sheds the love of God abroad in the Ardennes in AYLI.
Blunt’s preface claims Marlowe’s verses will be made “more agreeable” in Walsingham’s name but if we compare as you like it made “more agreeable” to as Walsingham likes it made more agreeable we see no mercy no love of God in the treatment of Marlowe’s verses in compare. As Walsingham’s foster child what Touchstone speaks of as “a great reckoning in a little room” aka the reckoning of “Hero the fair”, some thing that happens after Hero makes her “false morne”, is simply omitted which is why Phebe writes her compare of Shakespeare’s Ganymede to Marlowe’s Ganymede to a Leander turned in a spirit of “omittance is no quittance”. Given what Touchstone says is true, when Marlowe’s verses cannot be understood as a complete poem ending in “a great reckoning in a little room” nor his good wit seconded with the forward child of invention of Leander as from a Ganymede turned, understanding feigned by Chapman’s muse it strikes Leander “more dead than a great reckoning in a little room”. For example in Sestiad Three Chapman rewrites the ending that is omitted as per the editorial notation of “Desunt nonnulla” indicated post line 818. .
Chapman speaks of “our Leander” filled with Mars as opposed to Marlowe’s Leander filled with Cupid’s “arrow with the golden head”. Chapman’s Leander takes Hero in bed like Essex takes Cadiz just for the “spoyle” of war. In Sestiad Six Chapman’s Leander is murdered by “the fates” with malice aforethought which is the element not found by Good Man Danby on inquest on cause of Marlowe’s death. For Danby found for “se defendendo” or self defense of course fully pardonable. In “Hamlet” Good Man Delver says that in cases of “se offendendo” where there is a mix of an offense that has three parts in it or homicide that includes malice aforethought the coroner has room to find cause that depends upon whether the cause goes to he who goes into the water or on the water that goes into he who goes into the water.
We remember when Raleigh’s Leander goes into the water in “The Ocean, to Cynthia” Hero scorns him and it kills him wherefore he drowns himself to do what he can “no longer do” for Hero in life. Marlowe’s “On Hellespont, guilty of true love’s blood” speaks of when Raleigh’s Leander goes into the water. Marlowe’s merriment however evidently goes too far when the arc of his story puts the shoe on the other foot by having Hero scorned by Leander’s murderer’s eyes” and it kills her and therefore she studies how to die ere she goes into the water willfully drowning herself not unlike Ophelia scorned by the Prince of Denmark.
At one time perhaps in “A Midsummer Night’s Dream” we could hear in the play within the play:
Pyramus: “Like Leander am I, till the fates me kill!” (See Sestiad Six)
Thisbe: “And like Hero am I, ever trustie still!” (See Phebe’s compare in her very taunting letter: AYLI)
Drum roll; and laughter ensues. Have a nice day.
Hopefully we have an inkling as to why AYLI is staid in August of 1600. Just saying!