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I came across 'S' for Stokes in a Spectator crossword a while back. Following this recent reappearance I did some checking and it turns out that Collins and the ODE as well as several online articles from people who know a great more than I do about kinematic viscosity all agree that the abbreviation for Stokes is 'St'. Chambers would seem to be in a minority of one with its preference for 'S'.

Re my #53 - and #56, #57:

If one looks at the definitions given in Chambers of the second word of the song title, and then of each of the words of the reclothed puzzle title, in turn, one sees both synonymy, and then, twice, explicit antithesis.

I can't put the whole argument in clear because that would give the theme away, but I've nicknamed the title of this one "Awinger's Paradox".

I'd suggest a quick look at King Lear's final words (the first four lines should do it) to get an idea of how flexible the second words of the song title and the puzzle title might be. One man's ... is another man's ...

We can't expect that much depth, not even from Chambers.

Not Lear's last words but his monologue towards the end of Act 2 Scene 4 ''O reason not...'' (sorry).

Puzzle finally finished (even if I do not understand the synonyms and homophone business) but all that the puzzle now needs is for 48ac (No time or money for plan to catch someone with drugs [5]) to be parsed.
I have no idea.
Thanks for any help.

Thepost, it’s a three-letter word to to catch (dropping the final T for time) plus a four-letter word for drugs (dropping the initial M for money). The five-letter whole is one of the four synonyms alluded to in the preamble

Thank you Quisling. That's rather an obtuse clue. I'm not sure I'd ever have got it.

Now awaiting 4708.

I thought the perimeter clues were much the most obscure in the puzzle, thepost

Drxx - thanks for this contribution to the title - title jungle; reminds me of the subltle but fundamental difference between one of the synonyms being used as legal justification locally of releasing Green Belt land for development - and another revealing the real motive.

Of course, English being the rich pudding that it is, the setter can find ample justification for his thematic treatment converting the song title to the puzzle title - but we are directed to Chambers as the ultimate authority, not Will Shakespeare, and for me the process remains paradoxical.

Thepost - you say "Puzzle finally finished (even if I do not understand the synonyms and homophone business)..."
are you absolutely sure you've finished? Have you changed the single letter, and highlighted the 5 thematic words in the finished grid, as instructed in the preamble?
I don't see how you can have done that if you don't understand the thematic synonyms and homophones.

Bit confused by the title discussion. The Chambers definition of the key word gives the fifth definition as n*** and the 6th as p******. The n*** can clearly also mean w***. You then strip the w word and the p word to get the title. So the title of the puzzle is a clear (to me) cryptic representation of the song title.