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Ben Jonson

Mixed Ready evidence packet

Topic: Ben Jonson

Full Convivium / Sireniacal Network Audit — 1 September 2026

Book-use decision: retain this expanded audit in the AI Topics only. Do not add the full person-by-person network to the manuscript without a later explicit request.

The earlier four-name Epigrams result is only one layer of the evidence. A complete audit of commendatory verse, dedications, masque records, manuscript circulation, payments, and Jonson's 1618 journey establishes unambiguous direct connections with ten people in the Convivium company. Lionel Cranfield adds an official £33 payment entry; Richard Connock adds a dated verse epistle whose attribution should be checked directly in BL Add. MS 27407. Robert Phelips shares the Coryate print and Sireniacal environment; John West is the only person for whom no independent Jonson link has yet appeared.

The full report gives Christopher Brooke's 1614 poem, the twenty-five-year Jonson–Inigo Jones masque partnership, and a person-by-person evidence table: JONSON CONVIVIUM FULL NETWORK RESEARCH 2026 09 01.

Convivium Roster Audit — 1 September 2026

A complete check of the fourteen Convivium Philosophicum names against all 133 poems in Jonson's 1616 Epigrammes (TCP A04632) found four explicit overlaps:

Hugh Holland is not named in the Epigrams. His direct Jonson relationship is his commendatory verse for Sejanus (1605), followed by his Convivium placement and his signed 1623 First Folio poem. No anonymous epigram personae should be identified with the other diners without independent evidence.

Research Notice: Cinthia's Revenge commendatory poem

Scope note: this item is not directly Neville-related. It is retained here as contextual evidence about Ben Jonson's commendatory practice, his B. I. signature, and his characteristic treatment of readers and concealed authorship.

John Stephens's Cinthia's Revenge: or, Mænander's Extasie (1613) contains a ten-line commendatory poem headed To his much and worthily esteemed friend the Author and signed B. I. Modern Jonson editors accept the poem as Ben Jonson's: Percy Simpson included it in The Cambridge Edition of the Works of Ben Jonson (1907), and Tom Cain and Ruth Connolly include it in The Poems of Ben Jonson (2021). The Early English Books Online / TCP XML and the available page rendering agree on the wording, including the italicized question, what Author would conceale his name?

That question responds directly to Stephens's adjacent epistle, where he says that he purposly concealed his name and did not wish to play Tom-foole in Print for name-sake. Jonson turns Stephens's anonymity into a small taxonomy of readers: the superficial looker, the reader who roves at an uncertain passage, the hopeful understander, and the person who cannot read but may eventually admire (with the period sense of wonder as well as praise). The repeated movement from taking the volume in hand to understand closely resembles Jonson's own demand in Epigram I, To the Reader, that whoever takes his book in hand should read it well: that is, to understand. The rove / mark language is an archery metaphor for conjectural interpretation, while the claim that blind men may sometimes hit the mark belongs to the proverb family represented by a fool's bolt may sometimes hit the mark.

Assessment: the poem is best read as sincere commendation mixed with Jonsonian satire of superficial readers and affectionate teasing of Stephens's deliberate anonymity. It does not supply evidence for a concealed alternative author, and no direct Neville connection has been identified.

Deep analysis: Epigram CIX, To Sir Henry Nevil

Supporting analysis: Ben Jonson, To Sir Henry Nevil: Text, Publication, Context, and Close Analysis (2026-08-25). The internal research-file and reader-facing PDF locations are recorded in this topic's outputs_generated metadata; the PDF's evidentiary citations point to public editions, archives, articles, and corpus records.

High-priority prior notice: Bruce (James) Leyland and James Goding

This correspondence was already identified in print and must be credited prominently in future work. In Who Will Believe My Verse?: The Code in Shakespeare's Sonnets (Australian Scholarly Publishing, 2018), p. 11, Bruce Leyland (credited in the publication as James Leyland) and James Goding reproduce Jonson's epigram and state that its language “seems to echo he that calls on thee” in Shakespeare's Sonnet 38. Their footnote 24 directs readers to their Appendix 2 discussion of Sonnet 38 at pp. 164–65.

Priority assessment: high. This is a published, exact notice of the same calls on thee / Muse correspondence, not merely a general Neville–Shakespeare association. It establishes priority of observation. It does not establish that the echo is intentional, nor does it validate the book's larger code or authorship theory; those remain separate arguments to be tested independently. The page has been checked directly in the public Google Books preview: Leyland and Goding, p. 11.

Exhaustive test of the broader Leyland echo hypothesis, 2026-08-26

The complete 133-poem Epigrammes census is now finished. It identifies 33 numbered poems involving 20 independently attested writer-honorees, plus thirteen generic, satirical, merely mentioned, or uncertain writer figures. Each writer-honoree poem was classified after Cambridge-edition source checking, chronology control, exact normalized 3–6-lemma screening where a usable corpus survives, period document-frequency control, and manual semantic review.

Corrected result (book synchronization, 2026-08-28): the final evidence ledger classifies the 33 poems as ten strong target-text responses or reuses (A), two plausible responses (B), one broader dialogic or book-responsive relation without demonstrable phrase borrowing (C), seven negative results (N), and thirteen untestable cases (U). Among the twenty testable or partly testable poems, the resulting rates are therefore 10/20 (50%) strong, 12/20 (60%) strong plus plausible, and 13/20 (65%) when the single broader dialogic case is included. The earlier 6/20 and 8/20 figures in this topic were superseded by the completed manual audit but had not been propagated here; they must not be reused.

The broader conclusion remains bounded: response or reuse is characteristic in the testable sample, not universal, and the sample is selected by identifiable writer-honorees rather than designed as an authorship classifier. The strongest cases cluster around Donne and James, with additional examples involving Francis Beaumont, William Camden, Philip Sidney, and Clement Edmondes. They include verse exchange, presentation, criticism, translation, public speech, commentary, and praised books. Jonson also switches sources: poems to writer-honorees draw on Pliny, Seneca, Martial, Horace, Cicero, Virgil, Claudian, Plato, and Persius. Epigram 122, syntactically modeled on Martial while praising Rudyerd, is a particularly clear counterdirection.

Epigram 109 remains a special case rather than proof of the general rule. The resolved Neville corpus yields only the generic phrase first to know; the stronger controlled relation is with Shakespeare's Sonnets 38 (calls on thee plus Muse) and 29 (the reciprocal six-lemma set fate, hope, friend, possess, scope, state). This supports a Shakespearean intertextual lead, not a general target-author habit and not, by itself, Neville's authorship of Shakespeare.

Complete Jonson–Sonnets lexical-rhyme census

The book's later control study was also missing from this topic. It compared every one of Jonson's 133 numbered Epigrams with all 154 Shakespeare sonnets: 133 × 154 = 20,482 poem-pair comparisons. The source inventory contains 812 Jonson rhyme-pair records and 1,079 sonnet rhyme-pair records. End words were lowercased and conservatively lemmatized; ordinary sonnets were parsed by their ABAB CDCD EFEF GG scheme, with the exceptional structures of Sonnets 99 and 126 treated separately, while Jonson's epigrams were parsed as adjacent couplets. This is a lexical line-ending comparison, not a claim of identical spelling or modern pronunciation.

Exact shared lexical rhyme pairsComparisonsPercentage
019,89797.144%
15752.807%
2100.0488%
3 or more00%

Epigram CIX and Sonnet 29 form one of the ten double-overlap comparisons, sharing the rhyme pairs hope/scope and fate/state. No other sonnet shares two pairs with Epigram CIX. Among the ten double overlaps, this is the only comparison in which a shared pair also occupies the same ordinal rhyme group: hope/scope is the third rhyme group in each poem. Because Shakespeare's quatrain rhyme alternates while Jonson writes adjacent couplets, the ordinal correspondence is interesting but not the same physical pattern. External inverse-document-frequency weighting ranks CIX/Sonnet 29 third among the ten double overlaps, not first.

The result has two essential limits. First, the target was selected after the resemblance was noticed, so 10/20,482 is a descriptive corpus count, not a preregistered p-value. Second, Robert Parry's Sinetes passions vppon his fortunes (1597), Passion XXVII, already combines both pairs in one 24-line poem, in the directions hope → scope and state → fate. Public records are the Folger catalogue entry and the EarlyPrint text, TCP A09044. In the broader pre-1609 line-ending control, hope/scope appears in 79 documents and fate/state in 179. The double rhyme therefore supports an exploratory intertextual comparison but cannot establish uniqueness or direct borrowing.

The stronger Sonnet 38 relation is a different evidence unit: the publicly indexed EarlyPrint control found the Sonnet and Jonson CIX as the two authorial passages placing the lemma sequence call on thou within fifteen tokens before Muse. That narrow conjunction is strengthened by its corpus result but limited by grammatical-role inversion and incomplete corpus coverage. Neither sonnet comparison converts Epigram CIX into direct proof that Neville wrote Shakespeare; both supplement the primary fact that Jonson publicly makes a Muse call upon the named Henry Neville.

Main finding

Jonson's epigram is best read as a forensic defence of Sir Henry Neville's moral intention. It answers a precise charge: the false statesman pretends a scope / Of seruice to the publique while making priuate gaine his real end. Jonson denies that charge, then distinguishes the matter and elements of honor from its outward dresse. The poem's sequence is a theory of legitimate statesmanship: know one's own state before the States; make inward roote equal outward height; let the soul give the flesh moral weight; and allow deeds rather than titles to generate the name.

Date of composition: unresolved, and the disagreement should be recorded as a disagreement

We do not know when the poem was written. No surviving document dates it. Both of the positions below are inferences from the poem's own words; neither rests on external evidence, and this packet takes neither side.

What is documentary (2026-08-26 verification pass):

Position A — a lifetime poem, occasioned by the 1612 refusal. This originates with Fleay (1891), whose entry, verified directly in the printed text (A Biographical Chronicle of the English Drama, 1559–1642, vol. 1, p. 320), reads in full: "1612. 109. To Sir Henry Nevil (of Billingbear). Was refused Secretaryship in 1612." Burrow reports this as "the most probable occasion for the poem."

Weight to give it: low as evidence, though it is the position of the standard modern edition. Fleay's method across the whole list is to attach a datable event from the addressee's life to each poem; many of his entries are hedged ("Query", "I think", "(?)") or undated. He supplies no argument for 109 beyond the coincidence of subject. Fleay's own concluding sentence on that same list contradicts his entry: "The arrangement of the Epigrams is not chronological ... and there is no date in them that can be definitely assigned later than 1611." An event-date is not a composition-date: a poem defending Neville against the charge of self-interested office-seeking could be written during the 1612 campaign or afterwards about it.

Position B — a posthumous defence, between 10 July 1615 and the folio. The internal case: the Muse now calls on Neville, a summoning; the lent life is to be made good against the Fates; Now I haue sung thee thus is a completed action submitted to posterity's judgment; and the close sets new wombes against tombes. Jonson's editor cross-refers lent life to Epigram 22, On My First Daughter — an epitaph — so the phrase's Jonsonian home is elegiac. Goe on is not decisive against this, since the following couplet explains how a dead man goes on.

Weight to give it: also low, and weakened by a control run on 2026-08-26. Jonson deploys the same memorial machinery for living patrons. The Forrest XII, to the living Countess of Rutland, has the Muse who alone raises souls to heaven and the tombs/wombs antithesis entire; Epigram 127, to the living Esmé Lord Aubigny, has "I doe therefore call Posteritie / Into the debt" with "Lent timely succours, and new life begot"; Epigram 104, to the living Susan Countess of Montgomery, has the Fates, lent, birth, posteritie and judgement. The funerary register therefore does not by itself imply a dead addressee.

The two precedents inside Jonson's own book

The objection "why would Jonson write this while Neville was alive and might still rise?" and the counter-objection "the poem is headed To, and addresses a living man in the present tense" are both answerable from the Epigrammes themselves. Each turns out to have a precedent, and they point in opposite directions.

Precedent for a posthumous poem headed "To" and addressed in the second person. Epigram XXXIII is headed simply "TO THE SAME" — that is, to Sir John Roe, the subject of XXXII. Roe died of plague in Jonson's arms in January 1606. The poem reads, in full:

I'le not offend thee with a vaine teare more,

Glad-mention'd ROE, thou art but gone before,

Whither the world must follow. And I, now,

Breathe to expect my when, and make my how.

Which if most gracious heauen grant like thine,

Who wets my graue, can be no friend of mine.

So the heading "TO SIR HENRY NEVIL" and the sustained second person are no obstacle whatever to a posthumous reading. Jonson does exactly this, in this book, to a dead man. This removes the strongest formal objection to the posthumous case.

Precedent for a lifetime poem left standing in the folio after the addressee had died. Epigram CXIII is addressed to Sir Thomas Overbury and dated by the Cambridge editor to c. 1610. Overbury was imprisoned in the Tower on 2 April 1613 and poisoned there, dying 14 September 1613; the murder trials ran through 1615 and into 1616, the folio's own year. Jonson — who told Drummond that Overbury had become his "mortal enemy" — nevertheless printed the poem in 1616 unaltered and in the present tense: "So where thou liu'st, thou mak'st life vnderstood." He did not recast it as an epitaph, did not mark the death, did not withdraw it.

Epigram CXIII stands four poems after CIX. The demonstrated fact is that Jonson's 1616 folio prints lifetime poems to men who had since died, without adjustment. So the posthumous date of printing of epigram 109 carries no inference at all about its date of composition.

Three further controls on the wording

Where that leaves the question

The situational argument for a posthumous poem is real and is the best argument on that side: Neville was, through 1612–14, publicly and strenuously pursuing the secretaryship through Rochester and Overbury, with a written memorial to the king; to tell such a man to his face that he does not "wrestle with dignities" is a strained compliment while the campaign is live, and a natural vindication once it is over and he is beyond defending himself. "Now I haue sung thee thus, shall iudge of thee" does read as the closing of an account.

But it remains an argument from tone, and every element it rests on — the To heading, the second person, the lent life, the Fates, posterity's judgment, the wombs and tombs — is documented in Jonson addressing the living. Meanwhile the one hard fact on the other side, that the poem was printed after Neville died, is shown by the Overbury epigram to prove nothing about when it was written.

Jonson's own book supplies a precedent for each reading. No surviving document decides between them.

Net position for the book: the memorial vocabulary argument fails in both directions — it cannot date the poem after Neville's death, and Fleay's event-date cannot date it before; and Jonson's own book supplies a precedent for each practice (Epigr. 33 addresses the dead Roe as thee under a To heading; Epigr. 113 keeps a c.1610 lifetime poem to Overbury in the present tense in the 1616 folio although Overbury died in 1613). Write the poem as undated, give both readings, and do not let either become the default. The one thing the 1616 witness establishes is that the poem reached print posthumously.

Primary Neville parallel

The closest primary analogue is Neville's own letter to Ralph Winwood of 16 February 1603 Old Style (26 February 1604 New Style), printed in *Memorials of Affairs of State*, vol. 2, p. 17. Neville says every honest man should dedicate his life to public ends rather than private contentment, but that no man is bound to seek Imployments; offices of Honor are too high for him; and he should attend his private State while leaving publick Affairs to those charged with them.

That argumentative sequence closely matches Jonson's lent life, not seeking or wrestling with dignities, public service versus private gain, honour and height, and thine owne state before the States. No evidence shows Jonson saw the private letter. The secure inference is that Jonson's defence resembles Neville's own established ethical self-presentation; direct borrowing is unproved.

Publication control: 1612 and 1616

Tara L. Lyons's “New Evidence for Ben Jonson's *Epigrammes* (ca. 1612) in Bodleian Library Records”, PBSA 114.3 (2020), 343–64, is the relevant article. It combines the Stationers' Register entry of 15 May 1612, Throckmorton's anticipated sixpenny purchase, Drummond's 1612–13 reading lists, and the Bodleian's 1614 binding and shelfmark records. Together these prove that a separate small printed Epigrammes circulated before Jonson republished the collection in the 1616 folio Workes. Lyons develops the material argument in “Reading a Lost Book”, English Literary Renaissance 53.1 (2023), 1–34.

The lost book's contents are unknown. Its existence does not prove that epigram 109 was printed in 1612. A 1612 inclusion, a 1614–15 addition, and revision for 1616 remain distinct possibilities.

Text and verbal findings

The 1616 page image, Internet Archive first-folio scan, and EEBO–TCP A04632 agree on the words. The folio's punctuation and repeated then matter. Modernizing line 10 to than obscures a possible sequence: possess the substance of honour and then its dress, just as one first knows one's own state and then the States.

The concluding wombes/tombes rhyme is not itself rare. An EarlyPrint lemma search found womb within twenty words of tomb 707 times in 581 documents. Jonson's particular constructions are highly distinctive: exact new wombes, wrestle with dignity, deed ... new womb, and soul ... flesh ... weight each returned only this poem under the reported queries. Exact lent life returned 13 documents, with Jonson the earliest returned witness. The poem therefore builds original relations from conventional ethical and funerary materials.

Structure and book placement

The poem proceeds as a compact legal oration: it qualifies the Muse as a witness who serves neither fame nor titles; refutes the charge of false service; states Neville's positive ethical intention; and appeals to posterity for judgment. In the 1616 order, epigrams 107–08 contrast false and true military service, 109 transfers that opposition to state service, and 110 immediately repeats deeds, honours, name, future time, and renewed life through writing. The sequence strengthens the reading of 109 as a hinge between service and literary posterity, though it cannot date the poem's first composition.

Assessment: the poem summons Neville, clears his motive, and creates the afterlife it promises: posterity judges him through deeds and Jonson's verse. Its date of composition is unresolved — see the dating section above, which records the lifetime (Fleay/Burrow, 1612 occasion) and posthumous (1615–16) readings as competing inferences rather than adopting either. The 1604 Winwood letter shows that this defence's ethical logic belonged to Neville's earlier self-description, which is compatible with both datings. The lost 1612 Epigrammes prevents certainty and does not itself place this poem in the earlier book. Do not write "most probably posthumous" (or "most probably 1612") in book prose.

CELM Letter-Catalogue Leads

Source-Control Summary

Haterius, Lost Epigrammes, and Memorial Language

Page-Image Controls

Web and Edition Routes

Jonson Evidence Lanes

This packet now separates three Jonson lanes that older notes tended to blend: the 1623 First Folio prefatory poems, the 1616 Jonson folio epigram to Sir Henry Nevil, and later/secondary commentary or Ken Feinstein interpretation.

Quoted Source Passages

Follow SOURCE QUOTATION STANDARD. These are the decisive short passages for the Jonson/Neville/Haterius lanes.

First Folio Jonson witness

"To the memory of my beloued, The AVTHOR MR. WILLIAM SHAKESPEARE"

"BEN: IONSON"

1616 Jonson epigram to Sir Henry Nevil

"CIX . TO SIR HENRY NEVIL . WHo now calls on thee , NEVIL , is a Muse ,

That serues nor fame , nor titles ; but doth chuse

Where vertue makes them both , and that 's in thee :

Where all is faire , beside thy pedigree ."

"To make thy lent life , good against the Fates :

And first to know thine owne state , then the States .

To be the same in roote , thou art in height ;

And that thy soule should giue thy flesh her weight .

Goe on , and doubt not , what posteritie ,

Now I haue sung thee thus , shall iudge of thee .

Thy deedes , vnto thy name , will proue new wombes ,

Whil'st others toyle for titles to their tombes ."

Haterius/Shakespeare comparison

"Hee was ( indeed ) honest , and of an open , and free nature :

had an excellent Phantsie ; brave notions , and gentle expressions :

wherein hee flow'd with that facility , that sometime it was necessary

he should be stop'd : Augustus in Hat . Sufflaminandus erat ;

as Augustus said of Haterius . His wit was in his owne power ;

would the rule of it had beene so too ."

Haterius in Greenwey/Tacitus

"many being of opinion that it it was conuenient , that the Pretor

should haue authoritie to whip the stage-plaiers . But Haterius Agrippa

Tribune of the people contradicted him : whom Asinius Gallus rebuked

in an oration : Tiberius holding his peace ; suffering the Senate to vse

that shadow of libertie . Yet Haterius preuailed , bicause Augustus had

once declared the stage-plaiers to be free from stripes"

Haterius as Senator/Orator

"In the ende of this yeere two famous men died , Asinius Agrippa ,

rather of a renowned then auncient stocke , himselfe not degenerating

from them ; and Q. Haterius descended from Senators , whilest he liued

greatly esteemed for eloquence : but monuments of his wit there are none ;

bicause he was esteemed rather for vehemencie and quicke deliuerie ,

then diligence and premeditation ."

Lost printed Epigrammes route

"Ben Jhonsons Epigrammes"

3. Checked Source Lanes

A. 1623 First Folio Jonson poems

B. 1616 Jonson folio epigram to Sir Henry Nevil

C. Donne / Beaumont / Nevil Muse pattern

D. Jonson / Savile library lane

E. Jonson / Shakespeare / Haterius lane

F. Lost ca. 1612 Epigrammes edition

G. Memorial-language audit for the Nevil epigram

4. Claims Demoted or Held

5. Book-Safe Formulation

A source-controlled version can say:

Ben Jonson is a direct First Folio prefatory witness: EarlyPrint A11954 preserves the title-page-facing poem signed B.I. and the longer Shakespeare encomium signed BEN: IONSON. Jonson is also a direct Neville witness in his own 1616 folio: A04632 prints epigram CIX. TO SIR HENRY NEVIL, opening with Nevil as a Muse and later invoking posterity. These are real textual connections. They do not by themselves prove that Jonson organized the First Folio, concealed authorship, or transmitted Neville manuscripts.

For the Haterius lane, a book-safe sentence is:

In Jonson's later Shakespeare reminiscence, preserved in the 1641 second volume, Jonson praises Shakespeare's nature and imagination but says his fluent wit sometimes needed checking, invoking Augustus's saying about Haterius. Because Haterius is a Roman senator/orator in the Tacitus/Suetonius tradition, the comparison can be read as a discreet political allusion to Sir Henry Neville, a parliamentarian whom Jonson separately praised. That is an interpretive connection, not a direct identification.

The Greenwey/Tacitus support can be added cautiously:

Greenwey's 1598 English Tacitus strengthens the classical route because it presents Haterius both as a Senate/oratory figure and, in book 1, as the man whose intercession prevailed in a dispute over the punishment of stage-players. This makes the Haterius choice unusually apt for a learned, theatrical, political allusion, while still falling short of proving Jonson's intent.

For the Nevil epigram dating lane, a book-safe sentence is:

The 1616 Works prints Jonson's epigram to Sir Henry Nevil after Neville's death, and its language of lent life, Fates, posterity, and tombes is compatible with memorial reading. But Tara Lyons's evidence for a lost printed Epigrammes before 1616 means the poem may have existed while Neville was alive unless we can prove it was absent from the lost ca. 1612 edition or revised after July 1615.

6. Citations

7. image witnesses Witnesses and Page-Image Controls

Direct page-image controls

First Folio Jonson To the Reader
First Folio Jonson To the Reader

First Folio Jonson long poem opening
First Folio Jonson long poem opening

Jonson 1616 To Sir Henry Nevil opening crop
Jonson 1616 To Sir Henry Nevil opening crop

Jonson 1616 To Sir Henry Nevil close crop
Jonson 1616 To Sir Henry Nevil close crop

Preserved tweet-media witnesses

Ben Jonson epigram to Henry Neville, image 1
Ben Jonson epigram to Henry Neville, image 1

Ben Jonson epigram to Henry Neville, image 2
Ben Jonson epigram to Henry Neville, image 2

Ben Jonson epigram to Henry Neville, Folger digital image
Ben Jonson epigram to Henry Neville, Folger digital image

Ben Jonson epigram pattern, Donne
Ben Jonson epigram pattern, Donne

Ben Jonson epigram pattern, Beaumont
Ben Jonson epigram pattern, Beaumont

Ben Jonson epigram pattern, Neville
Ben Jonson epigram pattern, Neville

8. Notes on Access

9. Direct 1641 Timber / Discoveries Page Images, 2026-07-09

The Internet Archive/Boston Public Library witness vvorkesofbeniami00jons supplies direct colour images of the decisive passage at printed pp. 97-98.

I remember, the Players have often mentioned it as an honour to Shakespeare, that in his writing, (whatsoever he penn'd) hee never blotted out line. My answer hath beene, would he had blotted a thousand.

I lov'd the man, and doe honour his memory (on this side Idolatry) as much as any. Hee was (indeed) honest, and of an open, and free nature; had an excellent Phantsie; brave notions, and gentle expressions: wherein hee flow'd with that facility, that sometime it was necessary he should be stop'd: Sufflaminandus erat; as Augustus said of Haterius.

The page images confirm the local TCP text and clarify the argument's structure. Jonson first rejects the players' uncritical “never blotted” praise, then explicitly affirms love, honour, honesty, imagination, and expression before applying the Haterius check to excessive fluency. The classical comparison is real. A Neville identification is not stated.

10. Lost Epigrammes PDF Recheck

Tara L. Lyons's local PBSA PDF was rechecked directly. It documents:

The lost book is therefore much better than a conjectural project: a printed copy appears to have entered and circulated through the Bodleian. But no surviving contents list proves whether CIX, To Sir Henry Nevil, belonged to that pre-1616 state. The packet retains both dating branches.

11. Completion Review, 2026-07-09

12. Book Integration Update — 2026-08-31