Bacon is Shake-Speare

Now and now only can a reasonable explanation be given for the first time of the purpose of the reference to Priscian, in lines 14 and 15, Plate 21, Page 87. And it is a singular circumstance that so far as the writer is aware not one of the critics has perceived that the mockery of Priscian forms a neat English iambic hexameter, indeed, in almost all modern editions of the Shakespeare plays, both the form and the meaning of the line have been utterly destroyed. In the original the line reads "Bome boon for boon prescian, a little scracht, 'twil serve."

Perhaps the reader will be enabled better to understand the sneer and the mockery by reading the following couplet —

     A fig for old Priscián, a little scrátcht, 'twil serve     A poet súrely need not áll his rúles observe.

And we still more perfectly understand the purpose of the hexameter form of the reference to Priscian if we scan the line side by side with the "revealed" interpretation of the long word honorificabilitudinitatibus.

Bome boon | for boon | prescian | a lit | tle scratcht | 'twil serve

HI LU | DI F | BACO | NIS NA | TI TUI | TI ORBI

These plays F Bacon's offspring are preserved for the world.

This explanation of the real meaning to be derived from the long word honorificabilitudinitatibus seems to be so convincing as scarcely to require further proof. But the Author of the plays intended when the time had fully come for him to claim his own that there should not be any possibility of cavil or doubt. He therefore so arranged the plays and the acts of the plays in the folio of 1623 that the long word should appear upon the 136th page, be the 151st word thereon, should fall on the 27th line and that the interpretation should indicate the numbers 136 and 151, thus forming a mechanical proof so positive that it can neither be misconstrued nor explained away, a mechanical proof that provides an evidence which absolutely compels belief.

The writer desires especially to bring home to the reader the manifest fact that the revealed and revealing sentence must have been constructed before the play of "Loues Labor's lost" first appeared in 1598, and that when the plays were printed in their present form in the 1623 folio the scenes and the acts of the preceding plays and the printing of the columns in all those plays as well as in the play of "Loues Labour's lost" required to be arranged with extraordinary skill in order that the revealing page in the 1623 folio should commence with the first word of the revealing page in the original quarto of 1598, and that that page should form the 136th page of the folio, so that the long word "Honorificabilitudinitatibus" should appear on page 136, be the 151st word, and fall upon the 27th line.

Bacon tells us that there are 24 letters in the alphabet (i and j being deemed to be forms of the same letter, as are also u and v). Bacon was himself accustomed frequently to use the letters of the alphabet as numerals (the Greeks similarly used letters for numerals). Thus A is 1, B is 2 … Y is 23, Z is 24. Let us take as an example Bacon's own name – B=2, a=1, c=3, O=14, n=i3; all these added together make the number 33, a number about which it is possible to say a good deal.7 We now put the numerical value to each of the letters that form the long word, and we shall find that their total amounts to the number 287, thus:

H O N O R I F I C A B I L I T U

8 8 14 13 14 17 9 6 9 3 1 2 9 11 9 19 20

D I N I T A T I B U S

4 4 9 13 9 19 1 19 9 2 20 18 = 287

From a word containing so large a number of letters as twenty-seven it is evident that we can construct very numerous words and phrases; but I think it "surpasses the wit of man" to construct any "sentence" other than the "revealed sentence," which by its construction shall reveal not only the number of the page on which it appears – which is 136 – but shall also reveal the fact that the long word shall be the 151st word printed in ordinary type counting from the first word.

On one side of the facsimile reproduction of part of page 136 of the 1623 folio, numbers are placed shewing that the long word is on the 27th line, which was a skilfully purposed arrangement, because there are 27 letters in the word. There is also another set of numbers at the other side of the facsimile page which shews that, counting from the first word, the long word is the 151st word. How is it possible that the revealing sentence, "Hi ludi F. Baconis nati tuiti orbi," can tell us that the page is 136 and the position of the long word is the 151st word? The answer is simple. The numerical value of the initial letters and of the terminal letters of the revealed sentence, when added together, give us 136, the number of the page, while the numerical value of all the other letters amount to the number 151, which is the number of words necessary to find the position of the long word "Honorificabilitudinitatibus," which is the 151st word on page 136, counting those printed in ordinary type, the italic words being of course omitted.

The solution is as followsHILUDIFBACONISNATITUITIORBI

the initial letters of which are

H L F B N T O

their numerical values being

8 11 6 2 13 19 14 = total 73

and the terminal letters are

I I S I I I

their numerical values being

9 9 18 9 9 9 = total 63 __

Adding this 63 to 73 we get 136

while the intermediate letters are

U D A C O N I A T U I T R B

their numerical values being

20 4 1 3 14 13 9 1 19 20 9 19 17 2 = 151 ___

Total 287

The reader thus sees that it is a fact that in the "revealed" sentence the sum of the numerical values of the initial letters, when added to the sum of the numerical values of the terminal letters, do, with mathematical certainty produce 136, the number of the page in the first folio, which is 136, and that the sum of the numerical values of the intermediate letters amounts to 151, which gives the position of the long word on that page, which is the 151st word in ordinary type. These two sums of 136 and 151, when added together, give 287, which is the sum of the numerical value of all the letters of the long word "Honorificabilitudinitatibus," which, as we saw on page 99, amounted to the same total, 287.

As a further evidence of the marvellous manner in which the Author had arranged the whole plan, the long word of 27 letters is placed on the 27th line. Can anyone be found who will pretend to produce from the 27 letters which form the word "Honorificabilitudinitatibus" another sentence which shall also tell the number of the page, 136, and that the position of the long word on the page is the 151st word?

I repeat that to do this "surpasses the wit of man," and that therefore the true solution of the meaning of the long word "Honorificabilitudinitatibus," about which so much nonsense has been written, is without possibility of doubt or question to be found by arranging the letters to form the Latin hexameter.

HI LUDI F. BACONIS NATI TUITI ORBI

These plays F. Bacon's offspring are preserved for the world.

It is not possible to afford a clearer mechanical proof that

THE SHAKESPEARE PLAYS ARE BACON'S OFFSPRING

It is not possible to make a clearer and more definite statement that

BACON IS THE AUTHOR OF THE PLAYS

It is not possible that any doubt can any longer be entertained respecting the manifest fact that

BACON IS SHAKESPEARE

CHAPTER XI

On the revealing page 136 in "Loves Labour's lost."

In the previous chapter it was pointed out that using letters for numbers, Bacon's name is represented by 33.

B A C O N .

2 2 1 3 14 13 = 33

and that the long word possesses the numerical value of 287.

H O N O R I F I C A B I L I T U

8 8 14 13 14 17 9 6 9 3 1 2 9 11 9 19 20

D I N I T A T I B U S

4 4 9 13 9 19 1 19 9 2 20 18 = 287

In the Shakespeare folio, Page 136, shewn in Plate 20 and Plate 21, on Pages 86-7, ON LINE 33, we read "What is Ab speld backward with the horn on his head?"

The answer which is given is evidently an incorrect answer, it is "Ba, puericia with a horne added," and the Boy mocks him with "Ba most seely sheepe, with a horne: you heare his learning."

The reply should of course have been in Latin. The Latin for a horn is cornu. The real answer therefore is "Ba corn-u fool."

This is the exact answer you might expect to find on the line 33, since the number 33 indicates Bacon's name. And now, and now only, can be explained the very frequent use of the ornament representing a Horned Sheep, inside and outside "Baconian" books, under whatever name they may be known. An example will be found at the head of the present chapter on page 103. The uninitiated are still "informed" or rather "misinformed" that this ornament alludes to the celebrated Golden Fleece of the Argonauts and they little suspect that they have been purposely fooled, and that the real reference is to Bacon.

It should be noted here that in the Quarto of "Loues Labor's lost," see Plate 22, Page 105, if the heading "Loues Labor's lost" be counted as a line, we read on the 33rd line: "Ba most seely sheepe with a horne: you heare his learning." This would direct you to a reference to Bacon, although not so perfectly as the final arrangement in the folio of 1623.

Proceeding with the other lines in the page, we read: —

"Quis quis, thou consonant?"

This means "Who, who"? [which Bacon] because in order to make the revelation complete we must be told that it is "Francis" Bacon, so as to leave no ambiguity or possibility of mistake. How then is it possible that we can be told that it is Francis Bacon? We read in answer to the question:

[Illustration: Plate XXII. Facsimile from "Loues Labor Lost," First edition 1598]

     "Quis quis, thou consonant?      The last of five vowels if you repeat them, the        fifth if I.      I will repeat them a, e, I.      The Sheepe, the other two concludes it o, u."

Now here we are told that a, e, I, o, u is the answer to Quis quis, and we must note that the I is a capital letter. Therefore a is followed by e, but I being a capital letter does not follow e but starts afresh, and we must read I followed by o, and o followed by u.

[Illustration: Plate XXIII. Facsimile of a Contemporary Copy of a Letter of Francis Bacon.]

Is it possible that these vowels will give us the Christian name of Bacon? Can it be that we are told on what page to look? The answer to both these questions is the affirmative "Yes."

The great Folio of Shakespeare was published in 1623, and in the following year, 1624, there was brought out a great Cryptographic book by the "Man in the Moon." We shall speak about this work presently; suffice for the moment to say that this book was issued as the key to the Shakespeare Folio of 1623. If we turn to page 254 in the Cryptographic book we shall find Chapter XIV. "De Transpositione Obliqua, per dispositionem Alphabeti."

[Illustration: Plate XXIV. FACSIMILES FROM PAGE 255 OF "GU TAVI SELENI

CRYPTOMENYTICES," PUBLISHED 1624. [The Square Table is much enlarged].]

This chapter describes how, by means of square tables, one letter followed by another letter will give the cypher letter. On the present page appears the square, which is shown in Plate 24, which enables us to answer the question "Quis quis."

By means of this square we perceive that "a" followed by "e" gives us the letter F, that "I" followed by "o" gives us the letter R, and that "o" followed by "u" gives us the letter A. The answer therefore to Quis quis (which Bacon do you mean) is Fra [Bacon]. See Plate 23, Page 107.

[Illustration: Plate XXV. FACSIMILE FROM PAGE 2O2b OF "TRAICTE DES

CHIFFRES OU SECRETES MANIERES D'ESCRIRE," PAR VlGENÈRE.]

But what should induce us to look at this particular chapter on page 254 of the Cryptographic book for the solution? The answer is clearly given in the wonderful page 136 of the 1623 Folio of Shakespeare.

As has been pointed out the numerical value of the long word Honorificabilitudinitatibus is 287, and the numerical value of Bacon is 33. We have found Bacon from Ba with a horn, and we require the remainder of his name, accordingly deduct 33 from 287, and we get the answer 254 which is the number of the required page in the Cryptographic book of 1624. But the wise Author knew that someone would say "How does this apply to the 1598 Quarto published twenty-six years before the great Cryptographic book appeared?" On Plate 24, Page 108, taken from page 255 of the Cryptographic book of 1624, it is shewn that the following lines are attached to the square

"Quarta Tabula, ex Vigenerio, pag. 202.b, etc."

=Square table taken from Vigenerio, page 202.b.

This reference is to the work entitled, "Traicte des chiffres ou secretes manieres d'escrire": par Blaise de Vigenere, which was published in Paris in 1586. Spedding states (Vol. I. of "Bacon's Letters and Life," p. 6-8) that Francis Bacon went in 1576 to France, with Sir Amias Paulet, the English Ambassador. Bacon remained in France until 1578-9, and when in 1623 he published his "De Augmentis Scientiarum" – (the Advancement of Learning) he tells us that while in Paris he invented his own method of secret writing. See Spedding's "Works of Bacon," Vol. 4, p. 445.

The system which Bacon then invented is now known as the Biliteral Cypher, and it is in fact practically the same as that which is universally employed in Telegraphy under the name of the Morse Code.

A copy of Vigenere's book will be found in the present writer's Baconian library, for he knew by the ornaments and by the other marks that Bacon must have had a hand in its production.

Anyone, therefore, reading the Quarto edition of "Loues Labor's lost," 1598, and putting two and two together will find on p. 202.b of Vigenere's book, the Table, of which a facsimile is here given, Plate 25, Page 109. This square is even more clear than the square table in the great Cryptographic book.

Thus, upon the same page 136 in the Folio, or on F. 4 in the Quarto, in addition to Honorificabilitudinitatibus containing the revealing sentence "Hi ludi F Baconis nati tuiti orbi" – "These plays F Bacon's offspring are entrusted to the world," we see that we are able to discover on line 33 the name of Bacon, and by means of the lines which follow that it is Fra. Bacon who is referred to.

Before parting with this subject we will give one or two examples to indicate how often the number 33 is employed to indicate Bacon.

We have just shewn that on page 136 of the Folio we obtain Bacon's name on line 33. On page 41 we refer to Ben Jonson's "Every man out of his Humour." In an extremely rare early Quarto [circa 1600] of that play some unknown hand has numbered the pages referring to Sogliardo (Shakespeare) and Puntarvolo (Bacon) 32 and 32 repeated. Incorrect pagination is a common method used in "revealing" books to call attention to some statements, and anyone can perceive that the second 32 is really 33 and as usual reveals something about Bacon.

On page 61 we point out that on page 33 of the little book called "The Great Assizes holden in Parnassus" Apollo speaks. As the King speaks in a Law Court only through the mouth of his High Chancellor so Apollo speaks in the supposititious law action through the mouth of his Chancellor of Parnassus, who is Lord Verulam, i.e. Bacon. Thus again Bacon is found on Page 33. The writer could give very numerous examples, but these three which occur incidentally will give some idea how frequently the number 33 is used to indicate Bacon.8

The whole page 136 of the Folio is cryptographic, but we will not now proceed to consider any other matters contained upon it, but pass on to discuss the great Cryptographic book which was issued under Bacon's instructions in the year following the publication of the great Folio of Shakespeare. Before, however, speaking of the book, we must refer to the enormous pains always taken to provide traps for the uninitiated.

If you go to Lunaeburg, where the Cryptographic book was published, you will be referred to the Library at Wolfenbuttel and to a series of letters to be found there which contain instructions to the engraver which seem to prove that this book has no possible reference to Shakespeare. We say, seem to prove, for the writer possesses accurate photographs of all these letters and they really prove exactly the reverse, for they are, to those capable of understanding them, cunningly devised false clues, quite clear and plain. That these letters are snares for the uninitiated, the writer, who possesses a "Baconian" library, could easily prove to any competent scholar.

[Illustration: 106 Surnames. Plate XXVI.]

Before referring to the wonderful title page of the Cryptographic book which reveals the Bacon-Shakespeare story, it is necessary to direct the reader's attention to Camden's "Remains," published 1616. We may conclude that Bacon had a hand in the production of this book, since Spedding's "Bacon's Works," Vol. 6, p. 351, and Letters, Vol. 4, p. 211, informs us that Bacon assisted Camden with his "Annales."

In Camden's "Remains," 1616, the Chapter on Surnames, p. 106, commences with an ornamental headline like the head of Chapter 10, p. 84, but printed "upside down." A facsimile of the heading in Camden's book is shewn in Plate 26, page 113.

This trick of the upside down printing of ornaments and even of engravings is continually resorted to when some revelation concerning Bacon's works is given. Therefore in Camden's "Remains" of 1616 in the Chapter on Surnames, because the head ornament is printed upside down, we may be perfectly certain that we shall find some revelation concerning Bacon and Shakespeare.

Accordingly on p. 121 we find as the name of a village "Bacon Creping." There never was a village called "Bacon Creping." And on page 128 we read "such names as Shakespeare, Shotbolt, Wagstaffe." In referring to the great Cryptographic book, we shall realise the importance of this conjunction of names.

On Plate 27, Page 115, we give a reduced facsimile of the title page, which as the reader will see, states in Latin that the work is by Gustavus Selenus, and contains systems of Cryptographic writing, also methods of the shorthand of Trithemius. The Imprint at the end, under a very handsome example of the double A ornament which in various forms is used generally in books of Baconian learning, states that it was published and printed at Lunaeburg in 1624. Gustavus Selenus we are told in the dedicatory poems prefixed to the work is "Homo lunae" [the man in the Moon].

[Illustration: Plate XXVII. Facsimile Title Page.]

[Illustration: Plate XXVIII. Left-Handed Portion, much enlarged, of

Plate XXVIII.]

[Illustration: 202. – Royal Eagle. Facsimile from p. 93 of Boutell's

English Heraldry, 1899. If this is compared with the bird in

Plate XXVIII. it will at once be seen that the later is an Eagle in full flight.]

[Illustration: Plate XXIX. Right-Hand Portion, much enlarged, of

Plate XXVII.]

[Illustration: Plate XXX. Top Portion of Plate XXVII., much enlarged.]

[Illustration: Plate XXXI. Bottom Portion of Plate XXVII., much enlarged.]

Look first at the whole title page; on the top is a tempest with flaming beacons, on the left (of the reader) is a gentleman giving something to a spearman, and there are also other figures; on the right is a man on horseback, and at the bottom in a square is a much dressed up man taking the "Cap of Maintenance" from a man writing a book.

Examine first the left-hand picture shewn enlarged, Plate 28, Page 118. You see a man, evidently Bacon, giving his writing to a Spearman who is dressed in actor's boots (see Stothard's painting of Falstaff in the "Merry Wives of Windsor" wearing similar actor's boots, Plate 32, Page 127). Note that the Spearman has a sprig of bay in the hat which he holds in his hand. This man is a Shake-Spear, nay he really is a correct portrait of the Stratford householder, which you will readily perceive if you turn to Dugdale's engraving of the Shakespeare bust, Plate 5, Page 14. In the middle distance the man still holding a spear, still being a Shake-Speare, walks with a staff, he is therefore a Wagstaffe. On his back are books – the books of the plays. In the sky is seen an arrow, no, it is not sufficiently long for an arrow, it is a Shotbolt (Shakespeare, Wagstaffe, Shotbolt, of Camden's "Remains"). This Shotbolt is near to a bird which seems about to give to it the scroll it carries in its beak. But is it a real bird? No, it has no real claws, its feet are Jove's lightnings, verily, "it is the Eagle of great verse."

Next, look on Plate 29, Page 119, which is the picture on the right of the title page. Here you see that the same Shake-spear whom we saw in the left-hand picture is now riding on a courser. That he is the same man is shewn by the sprig of bay in his hat, but he is no longer a Shake-spear, he is a Shake-spur. Note how much the artist has emphasised the drawing of the spur. It is made the one prominent thing in the whole picture. We refer our reader to "The Returne from Pernassus" (see pp. 47-48) where he will read,

     "England affordes those glorious vagabonds      That carried earst their fardels on their backes      Coursers to ride on through the gazing streetes."

Now glance at the top picture on the title page (see Plate 27, Page 115,) which is enlarged in Plate 30, Page 122. Note that the picture is enclosed in the magic circle of the imagination, surrounded by the masks of Tragedy, Comedy, and Farce (in the same way as Stothard's picture of the "Merry Wives of Windsor," Plate 32, Page 127).

[Illustration: Plate XXXII. Scene from "The Merry Wives of Windsor," painted by Thomas Stothard.]

The engraving represents a tempest with beacon lights; No; it represents

"The Tempest" of Shakespeare and tells you that the play is filled with

Bacon lights. (In the sixteenth century Beacon was pronounced Bacon.

"Bacon great Beacon of the State.")

We have already pointed out that "The Tempest," as Emile Montegut shewed in the Revue des Deux Mondes in 1865, is a mass of Bacon's revelations concerning himself.

At the bottom (see Plate 27, Page 115, and Plate 31, Page 123), within the "four square corners of fact," surrounded with disguised masks of Tragedy, Comedy, and Farce, is shewn the same man who gave the scroll to the Spearman, see Plate 29, Page 118 (note the pattern of his sleeves). He is now engaged in writing his book, while an Actor, very much overdressed and wearing a mask something like the accepted mask of Shakespeare, is lifting from the real writer's head a cap known in Heraldry as the "Cap of Maintenance." Again we refer to our quotation on page 48.

      "Those glorious vagabonds…       Sooping it in their glaring Satten sutes."

Is not this masquerading fellow an actor "Sooping it in his glaring Satten sute"? The figure which we say represents Bacon, see Plate 28, wears his clothes as a gentleman. Nobody could for a moment imagine that the masked creature in Plate 31 was properly wearing his own clothes. No, he is "sooping it in his glaring Satten sute."

The whole title page clearly shows that it is drawn to give a revelation about Shakespeare, who might just as well have borne the name of Shotbolt or of Wagstaffe or of Shakespur, see "The Tempest," Act v., Scene I.

     "The strong bass'd promontorie      Have I made shake, and by the spurs pluckt up."

There are also revealing title pages in other books, shewing a spear and an actor wearing a single spur only (see Plate 35, Page 153).

It will be of interest to shew another specially revealing title page, which for upwards of a hundred years remained unaltered as the title page to Vol. I. of Bacon's collected works, printed abroad in Latin. A different engraving, representing the same scene was also published in France. These engravings, however, were never reproduced or used in England, because the time for revelation had not yet come. Bacon is shewn seated (see Plate 33, Page 131). Compare his portrait with the engraving of the gentleman giving his scroll to the Spearman in the Gustavus Silenus frontispiece, Plate 27, Page 115, and Plate 28, Page 118. Bacon is pointing with his right hand in full light to his open book, while his left hand in deepest shadow is putting forward a figure holding in both its hands a closed and clasped book, which by the cross lines on its side (the accepted symbol of a mirror) shows that it represents the mirror up to Nature, i.e., Shakespeare's plays. Specially note that Bacon puts forward with his LEFT hand the figure holding the book which is the mirror up to Nature. In the former part of this treatise the writer has proved that the figure that forms the frontispiece of the great folio of Shakespeare's plays, which is known as the Droeshout portrait of Wm. Shakespeare, is really composed of two LEFT arms and a mask. The reader will now be able to fully realise the revelation contained in Droeshout's masked figure with its two left arms when he examines it with the title page shown, Plate 33, Page 131.