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A. Phoenix

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A. Phoenix

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SirBacon.org is proud to now offer all of the A. Phoenix PDF Books and Papers on a special new page:

The A. Phoenix PDF Library of Works

Six Primary Documents Confirming Francis Bacon is Shakespeare

by A. Phoenix.


Many people who are unfamiliar with Baconian research seem to believe that the Baconian evidence for Francis Bacon writing the Shakespeare works is all based on various cipher and code evidence of differing and various complexities. Nothing could be further from the truth.

Here are six pieces of documentary evidence that are not based on ciphers, codes or anagrams and everything to do with hard, primary documentary evidence that firmly links Francis Bacon to the Shakespeare Works.

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A New Book by A. Phoenix

by A. Phoenix.


The Secret Links Between the Rosicrucian-Freemasonic Memoriae (1626) Containing Thirty-Two Verses Dedicated To Francis Bacon Our Shakespeare, The First Folio of the Shakespeare Works (1623), and the Stratford Monument

In 1623 Francis Bacon with his scriptorium or literary workshop housed at Gorhambury staffed by his good pens among them the poet George Herbert and the poet and dramatist Ben Jonson, were busy working on the Shakespeare First Folio which was then making its way through the Jaggard printing house.

On its publication in November 1623, it carried a dedication to the Grand Master of England William Herbert, Earl of Pembroke and his brother Philip Herbert, Earl of Montgomery.

It was only a little over a year after the publication of his Shakespeare First Folio that Bacon started preparing for his final Last Will and Testament.

After consultations with those close to him and dealing with some practical arrangements he commenced the formal process of making a will on 23 May 1625 of such detail and complexity that it was not completed until six months later in the December. In an earlier draft of his will the lawyer Edward Herbert (a cousin of the poet George Herbert a contributor to the Memoriae and the Herbert brothers to whom Bacon dedicated the Shakespeare First Folio) was charged with overseeing which of his manuscripts should be published and which should be suppressed. In the final document Bacon addresses himself to future ages followed by some very pregnant instructions still shrouded in secrecy and unresolved to the present day. He bequeaths to the care of Bishop of London John Williams (a contributor to the Memoriae) his letters, speeches and other papers touching matters of state some of which Bacon did not want published but nevertheless wished them to be kept in private hands in safe keeping. By this Bacon meant to use his own words of reserving part to a private succession, namely his Rosicrucian-Freemasonry Brotherhood, who down the centuries have very carefully watched over Bacon’s secret life and writings, including the manuscripts of his Shakespeare poems and plays. In his will he also desired his executors Sir John Constable and Sir William Boswell (a contributor to the Memoriae) to take into their possession all his papers in his cabinets, boxes, and presses, and to seal them up until they had the leisure to peruse them. In December 1625 his last will and testament was signed in the presence of his private secretary and Rosicrucian Brother Dr William Rawley, who had lived with Bacon for the last ten years of his life, who had access to the majority of his literary manuscripts, including the manuscripts of his Shakespeare plays, which were placed into his hands to be kept concealed from public view until his Rosicrucian-Freemasonry Brotherhood decide to reveal the hidden truth to posterity and the world.

In the months following Bacon’s death to the profane world his trusted Rosicrucian Brother Dr William Rawley gathered together and quietly issued a commemorative work in his honour entitled Memoriae honoratissimi Domini Francisci, Baronis de Verulamio, vice-comitis Sancti Albani sacrum.

This rare and still virtually unknown work contains thirty-two Latin verses in praise of Bacon, which his orthodox editors and biographers have simply glossed over, ignored, or suppressed, that portray Bacon as a secret supreme poet and dramatist, the writer of comedies and tragedies, under the pseudonym of Shakespeare.

The Shakespeare monument at Stratford-upon-Avon secretly commissioned by Bacon to which the Memoriae is inextricably linked is replete with Rosicrucian-Freemasonry symbolism serving as a memorial to Francis Bacon our secret Shakespeare.

It knowingly echoes verses in the Memoriae, and as with the Shakespeare First Folio that is dedicated to the Grand Master of England, it is replete with Baconian-Rosicrucian-Freemasonic symbolism and cryptic devices, which read and deciphered repeatedly reveal and confirm that Bacon is Shakespeare.

Several centuries later the English translations of the Memoriae containing the 32 Latin verses portraying Bacon as Shakespeare are here made readily available and accessible for the first time, enabling Bacon and Shakespeare scholars, all interested students of English literature and the rest of the world, to read for themselves a work revealing the secret of the true authorship of the Shakespeare works, one kept from them for the last four hundred years.

Full paper: The_Secret_Links_Between_the_Rosicrucian.pdf

1 Minute Trailer
Latin verses confirm Francis Bacon as our Secret Shakespeare

Secret Bacon-Shakespeare Links – Bacon Verses, Shakespeare First Folio & The Stratford Monument

The Smoking Gun

by A. Phoenix.


Francis Bacon and his Unique Copy of the 1587 edition of Holinshed’s Chronicles
with Marginal Annotations in his own hand alongside passages used for
his Shakespeare Plays
The Smoking Gun of the True Authorship of the Shakespeare Works

HOLINSHED-SYNOPSIS.pdf

Full paper: FINAL-HOLINSHED.pdf

2 Minute Trailer – Where is ‘Shakespeare’s Holinshed’?

The Smoking Gun of the Shakespeare Authorship Question – Bacon’s copy of Shakespeare’s Holinshed

Critical Insights of Two Oxfordian Books.

by A. Phoenix.


downloads/aphoenix/LOONEY.pdf

J. THOMAS LOONEY FOUNDER OF THE DELUSIONAL OXFORDIAN THEORY

J. Thomas Looney originated the fallacious Oxfordian theory that Edward de Vere, seventeenth Earl of Oxford (1550-1604) was the true author of nearly all the Shakespeare poems and plays in his work “Shakespeare Identified” in Edward de Vere the seventeenth Earl of Oxford first published in 1920. The whole Oxfordian theory and all subsequent Oxfordian works are based upon and built from this publication right up to the present day. To mark its centenary The De Vere Society devoted the issue of its 2020 quarterly newsletter to whom it described as their ‘founding father’ J. Thomas Looney and his much-vaunted seminal work. The same year The Oxford Shakespeare Fellowship announced a new centenary edition of Shakespeare Identified edited by James A. Warren, which, without a trace of irony we are informed, ‘remains the most revolutionary book on Shakespeare ever written.’ Perhaps only Oxfordians could make such a grandiose claim for a book written without any bibliographical apparatus-without footnotes or references, nor a bibliography

Read more…>>

downloads/aphoenix/CB.pdf

Charles Beauclerk A Descendant of Edward de Vere, Seventeenth Earl of Oxford, the Founder and President of the De Vere Society

The leading light of the Oxfordian movement Charles Francis Topham de Vere Beauclerk (b. 1965), Earl of Burford, is heir apparent to Murray Beauclerk, fourteenth Duke of St Albans and is descended from Charles Beauclerk, the first Duke of St. Albans, the illegitimate son of Charles II and Nell Gwynne. He was educated at Eton College and Sherborne school before moving up to Hertford College, Oxford. Through his father he is related to Edward de Vere, seventeenth Earl of Oxford.

He is the Founder and President of the De Vere Society, former President of the Shakespeare Oxford Society, and trustee of the Shakespeare Authorship Trust.

Read more…>>

The Secret Life and Writings of Francis Bacon in 39 Shakespeare Plays and Poems

by A. Phoenix.


downloads/aphoenix/PLAYS-FINAL.pdf

The beginning, experience and the evolving circumstances of the life and mind of a poet and dramatist inevitably pours itself into all great works of art. It illuminates every sinew of its portraiture and canvas infusing it with an unmistakable emotional, psychological and intellectual DNA. If you truly know the man, his mind and acknowledged writings, his sublime incomparable poetry and drama written in the name of another is immediately apparent, emitting a brilliant light of truth that is at once unambiguous, compelling and certain.

The great philosopher-poet Francis Tudor Bacon was the eldest concealed royal son of Queen Elizabeth and Robert Dudley, Earl of Leicester and elder brother of their other royal son Robert Tudor Devereux. He was secretly adopted at birth by her Lord Keeper of the Realm Sir Nicholas Bacon and wife Lady Anne Cooke Bacon.

In his early years he spent his time growing up between the Bacon family estate at Gorhambury and York House on the Strand the official residence of his father Lord Keeper Bacon next to York Place, the royal palace of Queen Elizabeth. From an early age at the Elizabethan court, he grew up in the company of his royal mother and the nobility of the kingdom and those of other countries and states from all over the continent of Europe, surrounded by English and foreign ambassadors and diplomats, and all those great and learned minds the times had to offer. The majority of whom were astonished by the prodigious young man in their midst. It was said by one of his early biographers (who knew of what he spoke) at the age of twelve years old he possessed a mind that was even then beyond the capacity of his peers.

His royal antecedents profoundly engaged his all-encompassing mind and intellect which he afterwards drew upon for his Shakespeare English History Plays with eight of these covering the reigns of Richard II to Richard III whose defeat at Bosworth marked the union of the Roses and beginning of the Tudor dynasty ushered in by his great-grandfather Henry VII, about whom he wrote a celebrated prose history. This was followed chronologically by his Shakespeare play Henry VIII, with its famous scene depicting the birth of his mother Queen Elizabeth, about whom would, he says, in reference to himself, create an heir, who would make new nations, as the concealed Father of our Modern World.    

Following his return from France during which time Bacon had been involved in a great love affair with Prince Marguerite, the inspiration for Romeo and Juliet the greatest love story ever told, he was admitted to Gray’s Inn from where he wrote his early Shakespeare plays for which he drew upon his own personal experiences and circumstances.  With the scene in the Temple Garden in I Henry VI which portrays the beginning of the War of the Roses, with parts of 2 Henry VI located at St Albans, the location of his Gorhambury estate, blessed with St Albans Cathedral which he regularly visited, the final resting place of Humphrey, Duke of Gloucester, the dominant figure in the first three acts of the play. Then there was The Taming of the Shrew in which in its second version Bacon names it titular characters Petruccio and Kate, after the Bacon family scribe Petruccio Ubaldini and his aunt Katherine Cooke Killigrew, younger sister of Lady Bacon, with Petruccio’s father named Antonio, the Italian form of the name of his brother Anthony Bacon, two of whose household servant are named Nicholas and Nathaniel, after his elder half-brothers Sir Nicholas and Sir Natheniel Bacon (no I am not making this up!). Characters with the names of Anthony and Nathaniel also made appearances in Loves Labours Lost. With Anthony Bacon who repeatedly paid off the debts of his beloved brother Francis, the titular character of The Merchant of Venice in which its key characters Antonio and Bassanio mirror the relationship and circumstances of Anthony and Francis Bacon before, during and after the time of the play.

In the history play King John the royal Bastard Sir Philip Faulconbridge (F Bacon) is a portrait of its author the royal bastard Francis Tudor Bacon. The royal bastard child that Titania Queen Elizabeth and Oberon Robert Dudley, Earl of Leicester fight over in A Midsummer Nights Dream.  In As You Like It Rosalind, the daughter of Duke Senior also corresponds to Queen Elizabeth and Robert Dudley, Earl of Leicester shadows the figures of Duke Senior and Sir Rowland de Boys, with their son Robert Tudor Devereux reflected in the usurping brother Duke Frederick and the character of Orlando, youngest son of Sir Rowland de Boys. Dramatically disguised figures or allusions to Robert Tudor Devereux also appear in Henry V, Troilus and Cressida, Coriolanus and Antony and Cleopatra.

As one might expect he saved the best roles for himself not least the greatest of all Shakespearean roles, in a very personal tragedy that tells the tale of its author a disinherited royal prince Francis Tudor Bacon in the towering shape of Hamlet who is denied his rightful kingship by his mother Queen Elizabeth and the exhaustion and death of the Tudor dynasty. In Measure for Measure, he is the God-like Rosicrucian figure of Duke Vincentio one of the longest and most complex roles in the Shakespeare canon with the scientific-philosopher Prospero in the Tempest similarly a disguised dramatic portrait made in the image of his creator the scientific-philosopher Francis Tudor Bacon, the Founding Father of Modern Science and the Modern World.

With this and much more of the secret life and writings of Francis Bacon Tudor inserted by himself into his Shakespeare poems and plays, dispersed throughout the whole canon.

All of it for hundreds of years hidden in plain sight before our very own eyes.

LORD SUCH FOOLS THESE MORTALS BE.

The 1623 Shakespeare First Folio: Part 7

Part 7 of the latest masterpiece by A. Phoenix.


The Hidden Baconian Acrostics and Anagrams in the Shakespeare First Folio

1 Minute Trailer Secret Signatures in the Shakespeare First Folio

PAPER 1:

The Hidden Baconian Acrostics and Anagrams in the Shakespeare First Folio

VIDEO 1:

https://youtu.be/wTR_gqloCWs?si=mrfbwfmWM4HEr-2a

The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the SirBacon.org B’Hive Forum.

The 1623 Shakespeare First Folio: Part 6

Part 6 of the latest masterpiece by A. Phoenix.


To The Memorie of the deceased Authour Maister W. Shakespeare by Leonard Digges & and the Rosicrucian-Freemasonic Stratford Monument commissioned by Francis Bacon

1 Minute Trailer The Amazing Transformation of the Stratford Shakespeare Monument. . . 

PAPER 1:

To The Memorie of the deceased Authour Maister W. Shakespeare by Leonard Digges & and the Rosicrucian-Freemasonic Stratford Monument commissioned by Francis Bacon

VIDEO 1:

https://youtu.be/HggKSZ02NWo?si=TO3DTkYEHvJJ2aPS

The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the SirBacon.org B’Hive Forum.

The 1623 Shakespeare First Folio: Part 5

Part 5 of the latest masterpiece by A. Phoenix.


To the memory of my beloued, The Avthor Mr. William Shakespeare signed by Ben Jonson

2 Minute Trailer Rare Ben Jonson

Honest Rare Ben Jonson is the star witness for the Stratfordians who claim he was no liar and would not have been party to any deception where in fact the very opposite is demonstrably the case.

The evidence revealed in this article reveals that the great Ben Jonson the lover of ciphers, anagrams, and the art of ambiguity participated in the most remarkable literary ludibrium (a veritable comedy, farce, illusion, etc) in the history of humankind, that the illiterate/semi-illiterate William Shakspere of Stratford was Shakespeare, the greatest poet and dramatist of all time.

By his own admission Ben lied when the circumstances demanded it and Professor Riggs states that he frequently ‘gulls his audience, but Jonson’s falsehood has the capacity to educate as well as to delude.’
Honest Ben Jonson was completely capable of secrecy and ambiguity and in his epistle addressed to his beloved author in the First Folio, he repeatedly conveys to us that his confidante and Rosicrucian brother Francis Bacon is our Secret Shakespeare.

This gives lie to the Stratfordian fraud maintained and perpetrated by orthodox Shakespeare scholars who directly and indirectly benefit from the transparent deception that William Shakspere wrote the Shakespeare works.

 

PAPER 1:

To the memory of my beloued, The Avthor Mr. William Shakespeare signed by Ben Jonson

VIDEO 1:

https://youtu.be/WXH465vVKYs

The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the SirBacon.org B’Hive Forum.

The 1623 Shakespeare First Folio: Part 4

Part 4 of the latest masterpiece by A. Phoenix.


The Dedication to the ‘Incomparable Paire Of Brethren’ and the address To the great Variety of Readers signed in the names of Heminges and Condell

1 Minute Trailer – The Men Who Gave us Shakespeare?

The whole bedrock of the Shakespeare First Folio is predicated on the illusion that seven years after the death of William Shakspere of Stratford his acting friends John Heminges and Henry Condell edited the First Folio and wrote its dedication to William and Philip Herbert and the address to The Great Variety of Readers, to which their names are signed. This was originally all part of the charade created by Bacon and his divine Rosicrucian-Freemasonry Brotherhood to conceal his true authorship behind the mask of William Shakspere. Of course, Heminges and Condell, did not organise and oversee the enormous enterprise and production of the First Folio, and nor did they write the two epistles to which their names are attached.

Yet even though this now self-evident absurd nonsense has long and repeatedly been exposed for what it is, this false and fraudulent narrative is still perpetrated by mainstream biographers of William Shakspere of Stratford and Stratfordian authors of books on the Shakespeare First Folio, to the present day. All safe in the knowledge the ordinary schoolmen, the casual student and virtually the rest of the world at large, remain ignorant of this central Stratfordian falsehood and lie that Heminges and Condell oversaw the enterprise of the First Folio as a tribute to their fellow actor William Shakspere.

This, despite the fact, that other overlooked and ignored Shakespeare editors and academics in less well-known or accessible publications have long maintained that Heminges and Condell only lent their names to the vast enterprise and that the two epistles signed in their names were most likely written by Ben Jonson. This is all but ignored by modern so-called Stratfordian authorities because when the false and fraudulent fiction that Heminges and Condell oversaw the production of the First Folio is exposed for what it really is it begs the key critical question just who were responsible for producing it behind a wall of silence and secrecy?

The answer to the question is, the production of the 1623 Shakespeare First Folio was organised by its author Francis Bacon and his Rosicrucian-Freemasonry Brotherhood from his country estate at Gorhambury assisted by his good pens including its editor and contributor Ben Jonson who was living with Bacon at the time it was progressing through the Jaggard printing presses. The actors Heminges and Condell did no more than allow their names to be associated with the Shakespeare First Folio and it was Bacon and Jonson who were responsible for producing and composing the two epistles signed in their names. As will be seen, Heminges and Condell did not participate in the production of the First Folio which removes the central plank of the Stratfordian fiction that William Shakspere wrote the Shakespeare works.

 

PAPER 1:

The Dedication to the ‘Incomparable Paire Of Brethren’ the Grand Master of England William Herbert, Earl of Pembroke and Philip Herbert, Earl of Montgomery

VIDEO 1:

https://youtu.be/v82gTnhCkwI

 

PAPER 2:

To the great Variety of Readers signed in the names of Heminges and Condell

VIDEO 2:

https://youtu.be/4MK-xRdzfks

The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the SirBacon.org B’Hive Forum.

The 1623 Shakespeare First Folio: Part 3

Part 3 of the latest masterpiece by A. Phoenix.


THE SECRET OF THE DROESHOUT MASK SYNOPSIS

1 Minute Trailer The Secret of the Droeshout Mask

To the present day the life of Martin Droeshout the enigmatic engraver of the Droeshout engraving prefixed to the 1623 Shakespeare First Folio is completely shrouded in secrecy and mystery. The silence is deafening. What could be the reason for all this secrecy and silence?

The key central reason is the Droeshout engraving on the title page of the Shakespeare First Folio is a mask behind which its concealed author Francis Bacon is hidden in plain sight, which when removed reveals the truth behind the Rosicrucian-Freemasonic illusion and ludibrium that the illiterate/semi-illiterate William Shakspere was the author of the greatest literature in the history of the world.

Modern orthodox Shakespeare scholars have conspired in an enormous fraudulent conspiracy and very deliberately lied to the world about the so-called incompetence of its engraver Martin Droeshout to maintain the fiction and illusion William Shakspere wrote the Shakespeare plays.

The key elements of any fraud are very often simple and relatively easy to achieve and execute. The orthodox fraudulent Stratfordian scholar has numerous tools at their disposal. Firstly, they are simply able to take advantage of the trust of their naive uncritical readership who are easily persuaded by a perceived authoritative figure or so-called expert with the accompanying title of professor whose works are published by a prestigious university press. Pitifully, this itself is usually sufficient. Or alternatively, in the face of irrefutable facts and evidence the common response of orthodox Stratfordian scholars is either to simply maintain a wall of silence, or resort to crude systematic suppression and omission. Then there is their well-practiced method of arbitrary distortion and dismissal. Not forgetting of course, the blunt instrument of downright lies and mendacity, all of it skilfully woven into their false, deceitful, and fraudulent narratives.

For centuries the Stratfordian authorities have misled and lied to the world about the one critical fact literally staring us all in the face-the Droeshout engraving is very obviously and irrefutably a mask. The reason why they have repeatedly lied to the world and denied it is a mask is because it would immediately expose the illusion William Shakspere of Stratford wrote the Shakespeare works which in a single devastating and catastrophic stroke would bring the whole fraudulent Stratfordian edifice crashing down all around them.

The secret relationship which has remained hidden for centuries between Francis Bacon and Martin Droeshout the engraver responsible for the iconic image that adorns the title page of the 1623 Shakespeare First Folio is here revealed for the first time, bringing out of the shadows into the brilliant light of day, our sublime poet-dramatist concealed behind the Droeshout mask, exposing and collapsing the greatest literary fraud of all time.

 

PAPER 1:

The Title Page and Droeshout Mask of the 1623 Shakespeare First Folio Concealing its Secret Author Francis Bacon

VIDEO 1:

https://youtu.be/v82gTnhCkwI

 

PAPER 2:

To The Reader Prefixed to the Shakespeare First Folio Opposite the Droeshout Mask signed with the initials B. I. for Ben Jonson

VIDEO 2:

https://youtu.be/v82gTnhCkwI

The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the SirBacon.org B’Hive Forum.

The 1623 Shakespeare First Folio: Part 2

by A. Phoenix


Francis Bacon and his Rosicrucian brother Ben Jonson Editor of the 1623 Shakespeare First Folio

Part 2 of the latest masterpiece by A. Phoenix.

PAPER 2:

Francis Bacon and his Rosicrucian brother Ben Jonson Editor of the 1623 Shakespeare First Folio

VIDEO 2:

The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the SirBacon.org B’Hive Forum.

The 1623 Shakespeare First Folio: Part 1

by A. Phoenix


The 1623 Shakespeare First Folio: A Baconian-Rosicrucian-Freemasonic Illusion.

Part 1 of the latest masterpiece by A. Phoenix.

PAPER 1:

Francis Bacon His Rosicrucian Brotherhood & Literary Mask William Shakspere

VIDEO 1:

The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the SirBacon.org B’Hive Forum.

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The 1623 Shakespeare First Folio: A Baconian-Rosicrucian-Freemasonic Illusion

by A. Phoenix


Announcing The 1623 Shakespeare First Folio: A Baconian-Rosicrucian-Freemasonic Illusion. The book is available at
The_1623_Shakespeare_First_Folio_A_Baconian_Rosicrucian_Freemasonic_Illusion

Coming in at 404 pages we are also publishing selected chapters as smaller stand alone papers with accompanying videos. Each paper and video will concentrate on a selected facet of the 1623 Shakespeare First Folio.

Follow the discussion on the B’Hive Forum here on SirBacon.org:

https://sirbacon.org/bacon-forum/index.php?/forum/29-the-1623-shakespeare-first-folio-a-baconian-rosicrucian-freemasonic-illusion/

Introduction

On the 400th anniversary of the publication of the First Folio, The 1623 Shakespeare First Folio: A Baconian-Rosicrucian-Freemasonic Illusion uncovers and reveals unknown and untold secrets about the greatest work of literature in the history of humankind. Here for the first time, it brings forth the hidden and concealed connections of its secret author Francis Bacon and his Rosicrucian-Freemasonry Brotherhood with all the key members involved in its production, printing, and publication. It explores his hidden relationships with its printers William and Isaac Jaggard, and the other members of the First Folio consortium, John Smethwick, William Aspley, and its publisher Edward Blount. It is almost universally unknown that its dedicatee William Herbert, Earl of Pembroke was at the time of its dedication Grand Master of England, one of half of the ‘Incomparable Paire Of Brethren’, with his brother Philip Herbert, Earl of Montgomery, whose joint open and hidden relationships with Bacon went back decades. The other important critical member in the production of the 1623 First Folio was its editor and contributor of its two verses Ben Jonson who at the time the Folio was making its way through the Jaggard printing presses was living with Bacon at Gorhambury, where he was at the heart of the secret plans for bringing together this vast and complex enterprise.

The Droeshout engraving on the title page of the most famous secular work in English history is iconic and recognised the world over as the contemporary face of William Shakespeare the greatest poet and dramatist of all time. In strikingly marked contrast virtually nothing is known about Martin Droeshout the draughtsman responsible for the most recognisable literary image since time immemorial. A remarkable level of secrecy still surrounds his private life, friends and the social and professional circles he moved in, even though he self-evidently knew some of the most important figures in Jacobean England and moved in the highest circles of his times. This man who for the first thirty-three years of his life lived in the heart of London has scarcely left any documentary trace of his existence akin to him having been deliberately expunged from the records. To the present day his whole life is completely shrouded in secrecy and mystery. The silence is deafening. What could be the reason for all this secrecy and silence? The key reason is the Droeshout engraving on the title page of the 1623 Shakespeare First Folio is a mask behind which its concealed author Francis Bacon is hidden in plain sight, which when lifted reveals the truth behind the Rosicrucian-Freemasonic illusion and ludibrium that the illiterate/semi-illiterate William Shakspere of Stratford was the author of the greatest literature in the history of the world. This illusion revealed, with one devastating stroke brings the whole Stratfordian fiction crashing to the ground.

For the first time, The 1623 Shakespeare First Folio: A Baconian Rosicrucian-Freemasonic Illusion conveys an explosive secret in making known the concealed and hidden relationship between Francis Bacon and Martin Droeshout which has been suppressed for the last four hundred years. Their secret relationship is encapsulated in an earlier Droeshout engraving titled Doctor Panurgus (c. 1621) wherein one of its central figures is a depiction of Francis Bacon replete with a series of clues and indicators to confirm it.

The figure of Bacon in the Dr Panurgus engraving by Droeshout dating from the early 1620s is drawn from life, which points to Bacon sitting for it at Gorhambury. The complex engraving has clearly been carefully planned and must have involved Bacon giving Droeshout instructions and further directions that over a period of time necessitated numerous revision and amendments, not unlike the Droeshout in the First Folio, which exists in three known states, showing close attention to minor details as well as slight changes made to various aspects of it. This process was taking place around the time Bacon was planning and preparing his Shakespeare plays for the Jaggard printing house during the years 1621 to 1623 when it is likely that Droeshout made numerous visits to see Bacon at his country estate at Gorhambury where he was most likely residing for periods with Bacon and Ben Jonson as part of his entourage of good pens and other artists that made up his literary workshop.

The work also lift the veil of secrecy surrounding the hitherto unknown relationships between Francis Bacon and the other little-known figures Hugh Holland, James Mabbe and Leonard Digges who contributed verses to the 1623 Shakespeare First Folio. Particularly, Bacon’s relationship with Leonard Digges, whose father Sir Nicholas Bacon was the special patron of his grandfather and father Leonard Digges and Thomas Digges, the poet whose verse prefixed to the First Folio refers to the Stratford Monument, which is adorned with Rosicrucian-Freemasonic symbols and Baconian ciphers, secretly commissioned by Francis Bacon and his Rosicrucian-Freemasonry Brotherhood.

It is little known that the 1623 Shakespeare First Folio contains a series of special Baconian-Rosicrucian-Freemasonic AA and Archer headpieces cryptically incorporating the monogram of Francis Bacon and in the case of the latter spelling out his name F. Bacon. Across the address by Ben Jonson in the First Folio ‘To the memory of my beloued, The AVTHOR Mr. WILLIAM SHAKESPEARE: AND what he hath left vs’, written during the period he was living with Bacon at Gorhambury, appears the Freemasonic Seven Set Squares headpiece, indicating to other members of the Brotherhood that Bacon was the concealed author behind the pseudonym Shakespeare and the secret Grand Master of all Freemasons who rules by the Square, with ‘what he has left vs’, alluding to the secret Freemasonic system left to the world for the future benefit of humankind. Beyond the fact that the Freemasonic Seven Set Squares appears over the Ben Jonson address in the Folio, the same headpiece appears numerous times throughout the volume over the following Shakespeare plays: The Merry Wives of Windsor, Much Ado About Nothing, A Midsummer Night’s Dream, As You Like It, Twelfth Night, King John, I Henry IV, 2 Henry IV, Richard III, Henry VIII, Romeo and Juliet, Timon of Athens and Hamlet.

In addition to all the above cryptic devices secretly inserted by Bacon in the Shakespeare First Folio there are also many remarkable and astonishing references and allusions to himself and members of the Bacon family, which for four hundred years have remained unfamiliar or unknown to the ordinary schoolmen, the casual student, and effectively the rest of the world. These include references and allusions to himself in several different plays where the character is in some instances named Francis and similarly where characters are named after his three brothers Sir Nicholas Bacon, Sir Nathaniel Bacon, and Anthony Bacon. Similarly in the First Folio there are references and allusions to his father and mother Sir Nicholas and Lady Anne Cooke Bacon, her sisters Lady Katherine Cooke Killigrew, Lady Elizabeth Cooke Hoby Russell and her husband John, Lord Russell, Lady Mildred Cooke Cecil and her husband William Cecil, Lord Burghley, as well as their offspring (Bacon’s cousins) Thomas Posthumous Hoby and Sir Robert Cecil, and the son of their brother William Cooke, named after his father, Bacon’s other cousin, known as William Cooke of Highnam Court in Gloucester.

In recent times a very substantial body of academic literature has been produced by orthodox critics and commentators surrounding the subject of Shakespeare and anagrams. Individually and collectively these writings illustrate and determine that not only was Shakespeare, the greatest poet of his age, but he was its greatest anagrammatist. In the First Folio Bacon secretly inserts numerous acrostics and anagrams confirming his authorship among them: I AM FRA[NCIS] BACON, FRANCIS BACON, FRAN [CIS] BACON, F BACON, BY ONE BACON, BY BACON, and BACON.

The Shakespeare First Folio embodies the philosophy and teachings of Freemasonry and contains overt and covert references and allusions to its secret practices, protocols, and customs. It is intimately familiar with knowledge of its degrees of initiations, and the constitution, rules, and regular workings of the Lodge. It is also familiar with the language and terminology of the Freemasonry Brotherhood, its secret signs, handshakes, and other forms of greetings and identification. It is most importantly saturated with the grand philosophical scheme of Bacon to regenerate the world and unite humankind into a truly global society based upon peace and love, the declared aim of his Rosicrucian-Freemasonry Brotherhood, to bring about over time the Universal Reformation of the Whole World.

Did Francis Bacon really die on April 9, 1626?

by A. Phoenix


SirBacon.org is excited to share the following work by A. Phoenix on Easter Sunday April 9, 2023 on the anniversary of Bacon’s “passing” on Easter Sunday April 9, 1626.

Did Francis Bacon die in 1626 or Feign his Death with the help of his Rosicrucian Brotherhood?

https://sirbacon.org/FRANCIS%20BACONS%20DEATH.pdf

Join the discussion on the B’ Hive Community Forum!

Francis Bacon’s Private Notebook with Hundreds of Parallels in his Shakespeare Works – The Promus

by A. Phoenix


SirBacon.org is excited to share the following work by A. Phoenix on the 462nd Birthday of Sir Francis Bacon, January 22, 2023.

Francis Bacon’s Private Manuscript Notebook (Known as the Promus of Formularies and Elegancies) The Source of Several Hundred Resemblances, Correspondences and Parallels Found Throughout his Shakespeare Poems and Plays

By A. Phoenix
January 2023

In ordinary circumstances this contemporary manuscript document named the Promus of Formularies and Elegancies would be well known to every Bacon and Shakespeare scholar and student of English literature around the world.

Bacon’s unique private notebook held at the British Library contains a total of 51 leaves numbered pages 83 to 132 all written (apart from some French proverbs) in his own hand. The Folio numbered 85 is headed ‘Promus’ and beneath it appears the date ‘Dec. 5, 1594’ with the Folio numbered 114 headed ‘Formularies Promus’ carrying the date ‘27 Jan. 1595’ (i.e., January 1596).

It contains 1655 entries jotted down as an aid to his memory.

The entries include single words, phrases, lines, turns of speech, metaphors, similes, aphorisms, and various moral and philosophical observations. These include entries drawn from the Bible; Latin, French, Italian, Spanish, and English proverbs; and lines and verses from classical poets and dramatists, among them, Virgil, Ovid, Seneca, Horace, and Terence.

This private notebook was used by Bacon as a literary storehouse from where he developed, expanded, and introduced ideas and themes into his acknowledged writings and works. 

In Shakespeare Studies in Baconian Light R. M. Theobald produced a list of around 500 Promus entries used by Bacon in his acknowledged writings, a number the orthodox scholar Charles Crawford stated could be significantly added to, and following his detailed study of the Promus in The Bacon Shakespeare Question N. B. Cockburn put the number at about 600. More recently, its modern editors Professor Stewart and Dr Knight in The Oxford Francis BaconEarly Writings 1584-1596 (Oxford Clarendon Press, 2012) specified that during a period of thirty years Bacon utilised these entries in the Promus for usage in a diverse range of categories and genres that included his private letters, speeches, dramatic devices, essays, religio-political tracts, legal writings, and several of his philosophical and scientific works.

In 1883 the indefatigable Baconian scholar Constance M. Pott published her monumental work entitled The Promus of Formularies and Elegancies (Being Private Notescirc1594hitherto unpublishedby Francis Bacon Illustrated and Elucidated by Passages from Shakespeare.

In a work running to more than six hundred pages, Pott reproduced a full transcript of the entries in the Promus alongside hundreds of parallel passages from the Shakespeare poems and plays. This work has remained virtually unknown for the last one hundred and fifty years because it has been systematically ignored and misrepresented by orthodox Bacon and Shakespeare editors and commentators as it manifestly demonstrates that Bacon is Shakespeare.   

Now here for the first time (unknown to or expanded upon by Pott and other previous scholars and commentators) beyond paralleling hundreds of entries from Bacon’s notebook against his Shakespeare poems and plays, the present work will show how these sources used by Bacon, the Bible, Erasmus, Florio (Italian proverbs), Heywood (English proverbs), and especially the classical poets and dramatists Virgil, Ovid, Seneca, Horace, and Terence, completely saturate his Shakespeare works, confirming beyond any doubt that he used his private notebook as an aid-to-memory and wellspring for his divine Shakespeare poems and plays.

For the full story about ‘Francis Bacon’s Notebook’ see:

PAPER: https://aphoenix1.academia.edu/research

FULL VIDEO:   https://youtu.be/LTfUbKb7KqU

TRAILER:

 JOIN THE DISCUSSION ON THE B’HIVE BACONIAN FORUM:
https://sirbacon.org/bacon-forum/index.php?/topic/367-francis-bacons-private-notebook-the-promus-source-for-hundreds-of-parallels-in-his-shakespeare-works 


Note from SirBacon.org – For further enjoyment visit https://sirbacon.org/baconspeakspromus.htm


Secret Bacon Signatures, Acrostics & Anagrams in Shakespeare

by A. Phoenix


A Very Happy 2023 to Everyone at SirBacon.org, B’Hive, and all Baconians around the World.

A Short 4 Minute Video Dedicated to Rob Fowler & Yann Le Merlus for all their great work.

The Bacon-Shakespeare Manuscript Part 2

by A. Phoenix


THE BACON-SHAKESPEARE MANUSCRIPT (HITHERTO KNOWN AS
THE NORTHUMBERLAND MANUSCRIPT) WHICH ORIGINALLY
CONTAINED COPIES OF HIS SHAKESPEARE PLAYS
RICHARD II AND RICHARD III.
By A Phoenix
November 2022

https://aphoenix1.academia.edu/research


The Bacon-Shakespeare Manuscript Part 2 Video

In 1867 an astounding Elizabethan document (c. 1596) was discovered at Northumberland House in London. It should have had the most extraordinary impact on the literary world as it reveals the true author of the Shakespeare works. Instead it was misleadingly named The Northumberland Manuscript and quietly either ignored or misrepresented for over 150 years.

Why?

The manuscript belonging to Francis Bacon contains copies of his early writings and originally his Shakespeare plays Richard II and Richard III.

The contents page reveals explosive information. The names of both Francis Bacon and William Shakespeare are scribbled repeatedly all over its outer cover.

This is the only contemporary Elizabethan document in the world that features both the names of Francis Bacon and William Shakespeare. Why then is it not the most famous document in the world? Because the Bacon-Shakespeare Manuscript contains a world changing truth. . .

Francis Bacon is Shakespeare.

For the full story about ‘The Bacon-Shakespeare Manuscript’ see:

PAPER: https://aphoenix1.academia.edu/research

Part 1 VIDEO: https://youtu.be/QDn8gdBqnIM

 

The Bacon-Shakespeare Manuscript

by A. Phoenix


THE BACON-SHAKESPEARE MANUSCRIPT (HITHERTO KNOWN AS
THE NORTHUMBERLAND MANUSCRIPT) WHICH ORIGINALLY
CONTAINED COPIES OF HIS SHAKESPEARE PLAYS
RICHARD II AND RICHARD III.
By A Phoenix
November 2022

https://aphoenix1.academia.edu/research


For the full story about ‘The Bacon-Shakespeare Manuscript’ see:

PAPER: https://aphoenix1.academia.edu/research

VIDEO: https://youtu.be/QDn8gdBqnIM

CONTENTS

1. The Silence of the Shakespeare Scholars p. 6
2. The Discovery of the so-called Northumberland Manuscript p. 12
3. The Outer Cover of Bacon’s Northumberland Manuscript p. 16
4. The Handwriting on the Outer Cover of the Bacon-Shakespeare Manuscript p. 38
5. The date of the Bacon-Shakespeare Manuscript p. 49
6. The Letters, Religio-Political Tracts and Dramatic Devices still Present in the Bacon-Shakespeare Manuscript and their links to his other Shakespeare poems and plays p. 51
7. The Anonymous Leicester’s Commonwealth the Most Scandalous and Explosive Political Tract of the Elizabethan Era p. 96
8. The Missing Pieces of the Bacon-Shakespeare Manuscript: Letters, Speeches, Essays, Dramatic Devices and Plays p. 150
9. The Shakespeare Plays Richard II and Richard III originally contained within the Bacon-Shakespeare Manuscript p. 167
10. References p. 200

FACSIMILES

1. The Outer Cover of Bacon’s collection of MSS known as the Northumberland Manuscript p. 18
2. A Modern Rendering of the Outer Cover of Bacon’s collection of MSS
known as the Northumberland Manuscript p. 19
3. The monogram of Francis Bacon commencing the first stanza of The Rape of Lucrece (1594) p. 21
4. The last page of The Rape of Lucrece containing the secret signature F. Bacon p. 22
5. The title page of Ars Adulandi, The Art of Flattery containing the verse scribbled over the outer cover of the Bacon-Shakespeare Manuscript p. 25
6. Page 136 of Love’s Labour’s Lost in the 1623 Shakespeare First Folio p. 27
7. The title page of the 1598 quarto edition of Love’s Labour’s Lost ‘By W. Shakespere’ incorporating the concealed acrostic BACON p. 29
8. The title page of the 1600 quarto edition of The Merchant of Venice p. 31
9. The title page of the anonymous 1597 quarto edition of Romeo and Juliet p. 34
10. The title page of the 1599 quarto edition of Romeo and Juliet with its concealed anagram BACON p. 35
11. First page of the 1599 quarto edition of Romeo and Juliet with its Baconian-Rosicrucian AA headpiece p. 36
12. The poem by John Davies ‘To our English Terence Mr. Will: Shake-speare’
revealing Bacon is Shakespeare p. 42
13. A facsimile copy of a letter from Francis Bacon to Michael Hicks p. 46
14. An enlarged part of the outside cover of the Bacon-Shakespeare MSS p. 47
15. The Tudor family Hilliard miniatures of Queen Elizabeth, Robert Dudley, and their concealed royal sons, Francis Bacon and Robert Devereux p. 53
16. The Baconian-Rosicrucian AA headpiece over the dedication page of the first Shakespeare poem Venus and Adonis (1593) p. 54
17. The White Hart Inn at the edge of the Bacon family estate at Gorhambury
with its Mural depicting the Boar and death of Adonis in Venus and Adonis and Bacon’s Boar Crest from the special copy of his Novum Organum p. 57
18. Francis Bacon’s Achievement of Arms headed with the Crest of a Boar p. 58
19. The title page of the 1591 edition of The Troublesome Raigne of Iohn King of England, with the discouerie of King Richard Cordelions Base sonne (vulgarly named, The Bastard Fawconbridge) p. 60
20. Portrait of Queen Elizabeth royal mother of Francis Bacon and Robert Devereux, Earl of Essex p. 74
21. Portrait of Francis Bacon concealed Prince of Wales heir to the throne p. 75
22. Portrait of Robert Devereux a Royal Tudor Prince p. 76
23. The title page of Bacon’s Sagesse Mysterieuse Des Anciens depicting  allas Athena the Shaker of the Spear from where he derived his nom de plume
Shake-speare with the two mottoes ‘Truth is enveloped by obscurity’ and ‘Thus it shines in the shadows’ p. 78
24. The emblem on the title page of New Atlantis (Land of the Rosicrucians) with the inscription ‘In Time the Hidden Truth Will be Revealed’) p. 79
25. The Pregnancy Portrait of Queen Elizabeth p. 87
26. Portrait of her secret husband Robert Dudley, Earl of Leicester p. 88
27. Portrait of Francis Bacon as a child p. 89
28. The title page of the 1584 edition of Leicester’s Commonwealth p. 97
29. The title page of the 1641 edition of Leicester’s Commonwealth p. 106
30. The title page of the 1641 edition of Leicester’s Commonwealth attributed to Robert Parson p. 107
31. The title page of the 1706 edition Secret Memoirs of Robert Dudley, Earl of Leicester (Leicester’s Commonwealth) p. 110
32. The title page of the 1904 edition of the History of Queen Elizabeth, Amy Robsart and the Earl of Leicester (Leicester’s Commonwealth) p. 111
33. Deciphered title page of the 1584 edition of Leicester’s Commonwealth p. 140
34. The deciphered ‘The Preface of the Conference’ page from Leicester’s Commonwealth p. 141
35. The deciphered emblem prefaced to the 1585 French version of Leicester’s Commonwealth p. 144
36. The English version/translation of the ‘Addition of the Translator’ appended to the 1585 French version of Leicester’s Commonwealth (Exeter College,
Oxford MS 166) p. 145
37. The title page of the 1597 edition of Bacon’s Essays p. 153
38. The title page of the 1598 edition of Bacon’s Essays p. 154
39. The Baconian-Rosicrucian AA headpiece on the anonymous Epicedivm, A Funerall Song, vpon the vertuous life, and godly death, of the right worshipfull the Lady Helen Branch (1594) p. 158
40. The first page of Epicedivm containing reference to The Rape of Lucrece and Asmund and Cornelia replete with a 33 Bacon cipher p. 159
41. The monogram of Francis Bacon commencing the first sonnet in the 1609 edition of Shakespeares Sonnets p. 160
42. The monogram of Francis Bacon commencing the first verse of A Lover’s Complaint with an acrostic spelling out the name of its author Bacon p. 161
43. The Baconian-Rosicrucian AA headpiece above the dedication page of Nashes Lenten Stuffe (1599) p. 163
44. The Baconian-Rosicrucian AA headpiece on the title page of Pierce Pennilesse his supplication to the Diuell (1595) p. 164
45. The Baconian-Rosicrucian AA headpiece above the first page of the 1597 edition of Richard III p. 168
46. The Baconian-Rosicrucian AA headpiece above the first page of the p. 169 1598 edition of Richard III
47. The Baconian-Rosicrucian AA headpiece above the first page of the 1597 edition of Richard II p. 170
48. The Baconian-Rosicrucian AA headpiece above the first page of the 1598 edition of Richard II p. 171
49. The deciphered title page of the 1597 edition of Richard II p. 195
50. The deciphered title page of the 1597 edition of Richard III p. 196
51. The anagram BACON on the title page of the 1598 edition of Richard III p. 197
52. The deciphered title page of the 1599 edition of The First Part of the Life and Raigne of King Henry IIII p. 198

 


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46 Great and Rare Quotes about Francis Bacon and the Shakespeare Works

by A. Phoenix


It is little known that there are a substantial number of passages by professors and academics relating to the links and connections between Bacon and Shakespeare. These links appear in largely inaccessible or out of the way learned journals or other difficult to obtain publications that the majority of scholars, students and casual readers are unfamiliar with. I have therefore thought on the basis that they may be of interest to a wider audience to gather them together in one place for those with an interest in Francis Bacon and Shakespeare and the authorship of the Shakespeare works.

Two Formats : One is in text form and the other is the video.

Short paper available here:   https://www.academia.edu/90586683/Great_and_Rare_Quotes_About_Francis_Bacon_and_The_Shakespeare_Works

Great & Rare Quotes About Francis Bacon & The Shakespeare Works

The full text PDF is posted below the YouTube video.

Video here:

 

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Six Primary Documents Confirming Francis Bacon is Shakespeare

by A. Phoenix.


Many people who are unfamiliar with Baconian research seem to believe that the Baconian evidence for Francis Bacon writing the Shakespeare works is all based on various cipher and code evidence of differing and various complexities. Nothing could be further from the truth.

Here are six pieces of documentary evidence that are not based on ciphers, codes or anagrams and everything to do with hard, primary documentary evidence that firmly links Francis Bacon to the Shakespeare Works.

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A New Book by A. Phoenix

by A. Phoenix.


The Secret Links Between the Rosicrucian-Freemasonic Memoriae (1626) Containing Thirty-Two Verses Dedicated To Francis Bacon Our Shakespeare, The First Folio of the Shakespeare Works (1623), and the Stratford Monument

In 1623 Francis Bacon with his scriptorium or literary workshop housed at Gorhambury staffed by his good pens among them the poet George Herbert and the poet and dramatist Ben Jonson, were busy working on the Shakespeare First Folio which was then making its way through the Jaggard printing house.

On its publication in November 1623, it carried a dedication to the Grand Master of England William Herbert, Earl of Pembroke and his brother Philip Herbert, Earl of Montgomery.

It was only a little over a year after the publication of his Shakespeare First Folio that Bacon started preparing for his final Last Will and Testament.

After consultations with those close to him and dealing with some practical arrangements he commenced the formal process of making a will on 23 May 1625 of such detail and complexity that it was not completed until six months later in the December. In an earlier draft of his will the lawyer Edward Herbert (a cousin of the poet George Herbert a contributor to the Memoriae and the Herbert brothers to whom Bacon dedicated the Shakespeare First Folio) was charged with overseeing which of his manuscripts should be published and which should be suppressed. In the final document Bacon addresses himself to future ages followed by some very pregnant instructions still shrouded in secrecy and unresolved to the present day. He bequeaths to the care of Bishop of London John Williams (a contributor to the Memoriae) his letters, speeches and other papers touching matters of state some of which Bacon did not want published but nevertheless wished them to be kept in private hands in safe keeping. By this Bacon meant to use his own words of reserving part to a private succession, namely his Rosicrucian-Freemasonry Brotherhood, who down the centuries have very carefully watched over Bacon’s secret life and writings, including the manuscripts of his Shakespeare poems and plays. In his will he also desired his executors Sir John Constable and Sir William Boswell (a contributor to the Memoriae) to take into their possession all his papers in his cabinets, boxes, and presses, and to seal them up until they had the leisure to peruse them. In December 1625 his last will and testament was signed in the presence of his private secretary and Rosicrucian Brother Dr William Rawley, who had lived with Bacon for the last ten years of his life, who had access to the majority of his literary manuscripts, including the manuscripts of his Shakespeare plays, which were placed into his hands to be kept concealed from public view until his Rosicrucian-Freemasonry Brotherhood decide to reveal the hidden truth to posterity and the world.

In the months following Bacon’s death to the profane world his trusted Rosicrucian Brother Dr William Rawley gathered together and quietly issued a commemorative work in his honour entitled Memoriae honoratissimi Domini Francisci, Baronis de Verulamio, vice-comitis Sancti Albani sacrum.

This rare and still virtually unknown work contains thirty-two Latin verses in praise of Bacon, which his orthodox editors and biographers have simply glossed over, ignored, or suppressed, that portray Bacon as a secret supreme poet and dramatist, the writer of comedies and tragedies, under the pseudonym of Shakespeare.

The Shakespeare monument at Stratford-upon-Avon secretly commissioned by Bacon to which the Memoriae is inextricably linked is replete with Rosicrucian-Freemasonry symbolism serving as a memorial to Francis Bacon our secret Shakespeare.

It knowingly echoes verses in the Memoriae, and as with the Shakespeare First Folio that is dedicated to the Grand Master of England, it is replete with Baconian-Rosicrucian-Freemasonic symbolism and cryptic devices, which read and deciphered repeatedly reveal and confirm that Bacon is Shakespeare.

Several centuries later the English translations of the Memoriae containing the 32 Latin verses portraying Bacon as Shakespeare are here made readily available and accessible for the first time, enabling Bacon and Shakespeare scholars, all interested students of English literature and the rest of the world, to read for themselves a work revealing the secret of the true authorship of the Shakespeare works, one kept from them for the last four hundred years.

Full paper: The_Secret_Links_Between_the_Rosicrucian.pdf

1 Minute Trailer
Latin verses confirm Francis Bacon as our Secret Shakespeare

Secret Bacon-Shakespeare Links – Bacon Verses, Shakespeare First Folio & The Stratford Monument

The Smoking Gun

by A. Phoenix.


Francis Bacon and his Unique Copy of the 1587 edition of Holinshed’s Chronicles
with Marginal Annotations in his own hand alongside passages used for
his Shakespeare Plays
The Smoking Gun of the True Authorship of the Shakespeare Works

HOLINSHED-SYNOPSIS.pdf

Full paper: FINAL-HOLINSHED.pdf

2 Minute Trailer – Where is ‘Shakespeare’s Holinshed’?

The Smoking Gun of the Shakespeare Authorship Question – Bacon’s copy of Shakespeare’s Holinshed

Critical Insights of Two Oxfordian Books.

by A. Phoenix.


downloads/aphoenix/LOONEY.pdf

J. THOMAS LOONEY FOUNDER OF THE DELUSIONAL OXFORDIAN THEORY

J. Thomas Looney originated the fallacious Oxfordian theory that Edward de Vere, seventeenth Earl of Oxford (1550-1604) was the true author of nearly all the Shakespeare poems and plays in his work “Shakespeare Identified” in Edward de Vere the seventeenth Earl of Oxford first published in 1920. The whole Oxfordian theory and all subsequent Oxfordian works are based upon and built from this publication right up to the present day. To mark its centenary The De Vere Society devoted the issue of its 2020 quarterly newsletter to whom it described as their ‘founding father’ J. Thomas Looney and his much-vaunted seminal work. The same year The Oxford Shakespeare Fellowship announced a new centenary edition of Shakespeare Identified edited by James A. Warren, which, without a trace of irony we are informed, ‘remains the most revolutionary book on Shakespeare ever written.’ Perhaps only Oxfordians could make such a grandiose claim for a book written without any bibliographical apparatus-without footnotes or references, nor a bibliography

Read more…>>

downloads/aphoenix/CB.pdf

Charles Beauclerk A Descendant of Edward de Vere, Seventeenth Earl of Oxford, the Founder and President of the De Vere Society

The leading light of the Oxfordian movement Charles Francis Topham de Vere Beauclerk (b. 1965), Earl of Burford, is heir apparent to Murray Beauclerk, fourteenth Duke of St Albans and is descended from Charles Beauclerk, the first Duke of St. Albans, the illegitimate son of Charles II and Nell Gwynne. He was educated at Eton College and Sherborne school before moving up to Hertford College, Oxford. Through his father he is related to Edward de Vere, seventeenth Earl of Oxford.

He is the Founder and President of the De Vere Society, former President of the Shakespeare Oxford Society, and trustee of the Shakespeare Authorship Trust.

Read more…>>

The Secret Life and Writings of Francis Bacon in 39 Shakespeare Plays and Poems

by A. Phoenix.


downloads/aphoenix/PLAYS-FINAL.pdf

The beginning, experience and the evolving circumstances of the life and mind of a poet and dramatist inevitably pours itself into all great works of art. It illuminates every sinew of its portraiture and canvas infusing it with an unmistakable emotional, psychological and intellectual DNA. If you truly know the man, his mind and acknowledged writings, his sublime incomparable poetry and drama written in the name of another is immediately apparent, emitting a brilliant light of truth that is at once unambiguous, compelling and certain.

The great philosopher-poet Francis Tudor Bacon was the eldest concealed royal son of Queen Elizabeth and Robert Dudley, Earl of Leicester and elder brother of their other royal son Robert Tudor Devereux. He was secretly adopted at birth by her Lord Keeper of the Realm Sir Nicholas Bacon and wife Lady Anne Cooke Bacon.

In his early years he spent his time growing up between the Bacon family estate at Gorhambury and York House on the Strand the official residence of his father Lord Keeper Bacon next to York Place, the royal palace of Queen Elizabeth. From an early age at the Elizabethan court, he grew up in the company of his royal mother and the nobility of the kingdom and those of other countries and states from all over the continent of Europe, surrounded by English and foreign ambassadors and diplomats, and all those great and learned minds the times had to offer. The majority of whom were astonished by the prodigious young man in their midst. It was said by one of his early biographers (who knew of what he spoke) at the age of twelve years old he possessed a mind that was even then beyond the capacity of his peers.

His royal antecedents profoundly engaged his all-encompassing mind and intellect which he afterwards drew upon for his Shakespeare English History Plays with eight of these covering the reigns of Richard II to Richard III whose defeat at Bosworth marked the union of the Roses and beginning of the Tudor dynasty ushered in by his great-grandfather Henry VII, about whom he wrote a celebrated prose history. This was followed chronologically by his Shakespeare play Henry VIII, with its famous scene depicting the birth of his mother Queen Elizabeth, about whom would, he says, in reference to himself, create an heir, who would make new nations, as the concealed Father of our Modern World.    

Following his return from France during which time Bacon had been involved in a great love affair with Prince Marguerite, the inspiration for Romeo and Juliet the greatest love story ever told, he was admitted to Gray’s Inn from where he wrote his early Shakespeare plays for which he drew upon his own personal experiences and circumstances.  With the scene in the Temple Garden in I Henry VI which portrays the beginning of the War of the Roses, with parts of 2 Henry VI located at St Albans, the location of his Gorhambury estate, blessed with St Albans Cathedral which he regularly visited, the final resting place of Humphrey, Duke of Gloucester, the dominant figure in the first three acts of the play. Then there was The Taming of the Shrew in which in its second version Bacon names it titular characters Petruccio and Kate, after the Bacon family scribe Petruccio Ubaldini and his aunt Katherine Cooke Killigrew, younger sister of Lady Bacon, with Petruccio’s father named Antonio, the Italian form of the name of his brother Anthony Bacon, two of whose household servant are named Nicholas and Nathaniel, after his elder half-brothers Sir Nicholas and Sir Natheniel Bacon (no I am not making this up!). Characters with the names of Anthony and Nathaniel also made appearances in Loves Labours Lost. With Anthony Bacon who repeatedly paid off the debts of his beloved brother Francis, the titular character of The Merchant of Venice in which its key characters Antonio and Bassanio mirror the relationship and circumstances of Anthony and Francis Bacon before, during and after the time of the play.

In the history play King John the royal Bastard Sir Philip Faulconbridge (F Bacon) is a portrait of its author the royal bastard Francis Tudor Bacon. The royal bastard child that Titania Queen Elizabeth and Oberon Robert Dudley, Earl of Leicester fight over in A Midsummer Nights Dream.  In As You Like It Rosalind, the daughter of Duke Senior also corresponds to Queen Elizabeth and Robert Dudley, Earl of Leicester shadows the figures of Duke Senior and Sir Rowland de Boys, with their son Robert Tudor Devereux reflected in the usurping brother Duke Frederick and the character of Orlando, youngest son of Sir Rowland de Boys. Dramatically disguised figures or allusions to Robert Tudor Devereux also appear in Henry V, Troilus and Cressida, Coriolanus and Antony and Cleopatra.

As one might expect he saved the best roles for himself not least the greatest of all Shakespearean roles, in a very personal tragedy that tells the tale of its author a disinherited royal prince Francis Tudor Bacon in the towering shape of Hamlet who is denied his rightful kingship by his mother Queen Elizabeth and the exhaustion and death of the Tudor dynasty. In Measure for Measure, he is the God-like Rosicrucian figure of Duke Vincentio one of the longest and most complex roles in the Shakespeare canon with the scientific-philosopher Prospero in the Tempest similarly a disguised dramatic portrait made in the image of his creator the scientific-philosopher Francis Tudor Bacon, the Founding Father of Modern Science and the Modern World.

With this and much more of the secret life and writings of Francis Bacon Tudor inserted by himself into his Shakespeare poems and plays, dispersed throughout the whole canon.

All of it for hundreds of years hidden in plain sight before our very own eyes.

LORD SUCH FOOLS THESE MORTALS BE.

The 1623 Shakespeare First Folio: Part 7

Part 7 of the latest masterpiece by A. Phoenix.


The Hidden Baconian Acrostics and Anagrams in the Shakespeare First Folio

1 Minute Trailer Secret Signatures in the Shakespeare First Folio

PAPER 1:

The Hidden Baconian Acrostics and Anagrams in the Shakespeare First Folio

VIDEO 1:

https://youtu.be/wTR_gqloCWs?si=mrfbwfmWM4HEr-2a

The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the SirBacon.org B’Hive Forum.

The 1623 Shakespeare First Folio: Part 6

Part 6 of the latest masterpiece by A. Phoenix.


To The Memorie of the deceased Authour Maister W. Shakespeare by Leonard Digges & and the Rosicrucian-Freemasonic Stratford Monument commissioned by Francis Bacon

1 Minute Trailer The Amazing Transformation of the Stratford Shakespeare Monument. . . 

PAPER 1:

To The Memorie of the deceased Authour Maister W. Shakespeare by Leonard Digges & and the Rosicrucian-Freemasonic Stratford Monument commissioned by Francis Bacon

VIDEO 1:

https://youtu.be/HggKSZ02NWo?si=TO3DTkYEHvJJ2aPS

The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the SirBacon.org B’Hive Forum.

The 1623 Shakespeare First Folio: Part 5

Part 5 of the latest masterpiece by A. Phoenix.


To the memory of my beloued, The Avthor Mr. William Shakespeare signed by Ben Jonson

2 Minute Trailer Rare Ben Jonson

Honest Rare Ben Jonson is the star witness for the Stratfordians who claim he was no liar and would not have been party to any deception where in fact the very opposite is demonstrably the case.

The evidence revealed in this article reveals that the great Ben Jonson the lover of ciphers, anagrams, and the art of ambiguity participated in the most remarkable literary ludibrium (a veritable comedy, farce, illusion, etc) in the history of humankind, that the illiterate/semi-illiterate William Shakspere of Stratford was Shakespeare, the greatest poet and dramatist of all time.

By his own admission Ben lied when the circumstances demanded it and Professor Riggs states that he frequently ‘gulls his audience, but Jonson’s falsehood has the capacity to educate as well as to delude.’
Honest Ben Jonson was completely capable of secrecy and ambiguity and in his epistle addressed to his beloved author in the First Folio, he repeatedly conveys to us that his confidante and Rosicrucian brother Francis Bacon is our Secret Shakespeare.

This gives lie to the Stratfordian fraud maintained and perpetrated by orthodox Shakespeare scholars who directly and indirectly benefit from the transparent deception that William Shakspere wrote the Shakespeare works.

 

PAPER 1:

To the memory of my beloued, The Avthor Mr. William Shakespeare signed by Ben Jonson

VIDEO 1:

https://youtu.be/WXH465vVKYs

The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the SirBacon.org B’Hive Forum.

The 1623 Shakespeare First Folio: Part 4

Part 4 of the latest masterpiece by A. Phoenix.


The Dedication to the ‘Incomparable Paire Of Brethren’ and the address To the great Variety of Readers signed in the names of Heminges and Condell

1 Minute Trailer – The Men Who Gave us Shakespeare?

The whole bedrock of the Shakespeare First Folio is predicated on the illusion that seven years after the death of William Shakspere of Stratford his acting friends John Heminges and Henry Condell edited the First Folio and wrote its dedication to William and Philip Herbert and the address to The Great Variety of Readers, to which their names are signed. This was originally all part of the charade created by Bacon and his divine Rosicrucian-Freemasonry Brotherhood to conceal his true authorship behind the mask of William Shakspere. Of course, Heminges and Condell, did not organise and oversee the enormous enterprise and production of the First Folio, and nor did they write the two epistles to which their names are attached.

Yet even though this now self-evident absurd nonsense has long and repeatedly been exposed for what it is, this false and fraudulent narrative is still perpetrated by mainstream biographers of William Shakspere of Stratford and Stratfordian authors of books on the Shakespeare First Folio, to the present day. All safe in the knowledge the ordinary schoolmen, the casual student and virtually the rest of the world at large, remain ignorant of this central Stratfordian falsehood and lie that Heminges and Condell oversaw the enterprise of the First Folio as a tribute to their fellow actor William Shakspere.

This, despite the fact, that other overlooked and ignored Shakespeare editors and academics in less well-known or accessible publications have long maintained that Heminges and Condell only lent their names to the vast enterprise and that the two epistles signed in their names were most likely written by Ben Jonson. This is all but ignored by modern so-called Stratfordian authorities because when the false and fraudulent fiction that Heminges and Condell oversaw the production of the First Folio is exposed for what it really is it begs the key critical question just who were responsible for producing it behind a wall of silence and secrecy?

The answer to the question is, the production of the 1623 Shakespeare First Folio was organised by its author Francis Bacon and his Rosicrucian-Freemasonry Brotherhood from his country estate at Gorhambury assisted by his good pens including its editor and contributor Ben Jonson who was living with Bacon at the time it was progressing through the Jaggard printing presses. The actors Heminges and Condell did no more than allow their names to be associated with the Shakespeare First Folio and it was Bacon and Jonson who were responsible for producing and composing the two epistles signed in their names. As will be seen, Heminges and Condell did not participate in the production of the First Folio which removes the central plank of the Stratfordian fiction that William Shakspere wrote the Shakespeare works.

 

PAPER 1:

The Dedication to the ‘Incomparable Paire Of Brethren’ the Grand Master of England William Herbert, Earl of Pembroke and Philip Herbert, Earl of Montgomery

VIDEO 1:

https://youtu.be/v82gTnhCkwI

 

PAPER 2:

To the great Variety of Readers signed in the names of Heminges and Condell

VIDEO 2:

https://youtu.be/4MK-xRdzfks

The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the SirBacon.org B’Hive Forum.

The 1623 Shakespeare First Folio: Part 3

Part 3 of the latest masterpiece by A. Phoenix.


THE SECRET OF THE DROESHOUT MASK SYNOPSIS

1 Minute Trailer The Secret of the Droeshout Mask

To the present day the life of Martin Droeshout the enigmatic engraver of the Droeshout engraving prefixed to the 1623 Shakespeare First Folio is completely shrouded in secrecy and mystery. The silence is deafening. What could be the reason for all this secrecy and silence?

The key central reason is the Droeshout engraving on the title page of the Shakespeare First Folio is a mask behind which its concealed author Francis Bacon is hidden in plain sight, which when removed reveals the truth behind the Rosicrucian-Freemasonic illusion and ludibrium that the illiterate/semi-illiterate William Shakspere was the author of the greatest literature in the history of the world.

Modern orthodox Shakespeare scholars have conspired in an enormous fraudulent conspiracy and very deliberately lied to the world about the so-called incompetence of its engraver Martin Droeshout to maintain the fiction and illusion William Shakspere wrote the Shakespeare plays.

The key elements of any fraud are very often simple and relatively easy to achieve and execute. The orthodox fraudulent Stratfordian scholar has numerous tools at their disposal. Firstly, they are simply able to take advantage of the trust of their naive uncritical readership who are easily persuaded by a perceived authoritative figure or so-called expert with the accompanying title of professor whose works are published by a prestigious university press. Pitifully, this itself is usually sufficient. Or alternatively, in the face of irrefutable facts and evidence the common response of orthodox Stratfordian scholars is either to simply maintain a wall of silence, or resort to crude systematic suppression and omission. Then there is their well-practiced method of arbitrary distortion and dismissal. Not forgetting of course, the blunt instrument of downright lies and mendacity, all of it skilfully woven into their false, deceitful, and fraudulent narratives.

For centuries the Stratfordian authorities have misled and lied to the world about the one critical fact literally staring us all in the face-the Droeshout engraving is very obviously and irrefutably a mask. The reason why they have repeatedly lied to the world and denied it is a mask is because it would immediately expose the illusion William Shakspere of Stratford wrote the Shakespeare works which in a single devastating and catastrophic stroke would bring the whole fraudulent Stratfordian edifice crashing down all around them.

The secret relationship which has remained hidden for centuries between Francis Bacon and Martin Droeshout the engraver responsible for the iconic image that adorns the title page of the 1623 Shakespeare First Folio is here revealed for the first time, bringing out of the shadows into the brilliant light of day, our sublime poet-dramatist concealed behind the Droeshout mask, exposing and collapsing the greatest literary fraud of all time.

 

PAPER 1:

The Title Page and Droeshout Mask of the 1623 Shakespeare First Folio Concealing its Secret Author Francis Bacon

VIDEO 1:

https://youtu.be/v82gTnhCkwI

 

PAPER 2:

To The Reader Prefixed to the Shakespeare First Folio Opposite the Droeshout Mask signed with the initials B. I. for Ben Jonson

VIDEO 2:

https://youtu.be/v82gTnhCkwI

The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the SirBacon.org B’Hive Forum.

The 1623 Shakespeare First Folio: Part 2

by A. Phoenix


Francis Bacon and his Rosicrucian brother Ben Jonson Editor of the 1623 Shakespeare First Folio

Part 2 of the latest masterpiece by A. Phoenix.

PAPER 2:

Francis Bacon and his Rosicrucian brother Ben Jonson Editor of the 1623 Shakespeare First Folio

VIDEO 2:

The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the SirBacon.org B’Hive Forum.

The 1623 Shakespeare First Folio: Part 1

by A. Phoenix


The 1623 Shakespeare First Folio: A Baconian-Rosicrucian-Freemasonic Illusion.

Part 1 of the latest masterpiece by A. Phoenix.

PAPER 1:

Francis Bacon His Rosicrucian Brotherhood & Literary Mask William Shakspere

VIDEO 1:

The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the SirBacon.org B’Hive Forum.

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The 1623 Shakespeare First Folio: A Baconian-Rosicrucian-Freemasonic Illusion

by A. Phoenix


Announcing The 1623 Shakespeare First Folio: A Baconian-Rosicrucian-Freemasonic Illusion. The book is available at
The_1623_Shakespeare_First_Folio_A_Baconian_Rosicrucian_Freemasonic_Illusion

Coming in at 404 pages we are also publishing selected chapters as smaller stand alone papers with accompanying videos. Each paper and video will concentrate on a selected facet of the 1623 Shakespeare First Folio.

Follow the discussion on the B’Hive Forum here on SirBacon.org:

https://sirbacon.org/bacon-forum/index.php?/forum/29-the-1623-shakespeare-first-folio-a-baconian-rosicrucian-freemasonic-illusion/

Introduction

On the 400th anniversary of the publication of the First Folio, The 1623 Shakespeare First Folio: A Baconian-Rosicrucian-Freemasonic Illusion uncovers and reveals unknown and untold secrets about the greatest work of literature in the history of humankind. Here for the first time, it brings forth the hidden and concealed connections of its secret author Francis Bacon and his Rosicrucian-Freemasonry Brotherhood with all the key members involved in its production, printing, and publication. It explores his hidden relationships with its printers William and Isaac Jaggard, and the other members of the First Folio consortium, John Smethwick, William Aspley, and its publisher Edward Blount. It is almost universally unknown that its dedicatee William Herbert, Earl of Pembroke was at the time of its dedication Grand Master of England, one of half of the ‘Incomparable Paire Of Brethren’, with his brother Philip Herbert, Earl of Montgomery, whose joint open and hidden relationships with Bacon went back decades. The other important critical member in the production of the 1623 First Folio was its editor and contributor of its two verses Ben Jonson who at the time the Folio was making its way through the Jaggard printing presses was living with Bacon at Gorhambury, where he was at the heart of the secret plans for bringing together this vast and complex enterprise.

The Droeshout engraving on the title page of the most famous secular work in English history is iconic and recognised the world over as the contemporary face of William Shakespeare the greatest poet and dramatist of all time. In strikingly marked contrast virtually nothing is known about Martin Droeshout the draughtsman responsible for the most recognisable literary image since time immemorial. A remarkable level of secrecy still surrounds his private life, friends and the social and professional circles he moved in, even though he self-evidently knew some of the most important figures in Jacobean England and moved in the highest circles of his times. This man who for the first thirty-three years of his life lived in the heart of London has scarcely left any documentary trace of his existence akin to him having been deliberately expunged from the records. To the present day his whole life is completely shrouded in secrecy and mystery. The silence is deafening. What could be the reason for all this secrecy and silence? The key reason is the Droeshout engraving on the title page of the 1623 Shakespeare First Folio is a mask behind which its concealed author Francis Bacon is hidden in plain sight, which when lifted reveals the truth behind the Rosicrucian-Freemasonic illusion and ludibrium that the illiterate/semi-illiterate William Shakspere of Stratford was the author of the greatest literature in the history of the world. This illusion revealed, with one devastating stroke brings the whole Stratfordian fiction crashing to the ground.

For the first time, The 1623 Shakespeare First Folio: A Baconian Rosicrucian-Freemasonic Illusion conveys an explosive secret in making known the concealed and hidden relationship between Francis Bacon and Martin Droeshout which has been suppressed for the last four hundred years. Their secret relationship is encapsulated in an earlier Droeshout engraving titled Doctor Panurgus (c. 1621) wherein one of its central figures is a depiction of Francis Bacon replete with a series of clues and indicators to confirm it.

The figure of Bacon in the Dr Panurgus engraving by Droeshout dating from the early 1620s is drawn from life, which points to Bacon sitting for it at Gorhambury. The complex engraving has clearly been carefully planned and must have involved Bacon giving Droeshout instructions and further directions that over a period of time necessitated numerous revision and amendments, not unlike the Droeshout in the First Folio, which exists in three known states, showing close attention to minor details as well as slight changes made to various aspects of it. This process was taking place around the time Bacon was planning and preparing his Shakespeare plays for the Jaggard printing house during the years 1621 to 1623 when it is likely that Droeshout made numerous visits to see Bacon at his country estate at Gorhambury where he was most likely residing for periods with Bacon and Ben Jonson as part of his entourage of good pens and other artists that made up his literary workshop.

The work also lift the veil of secrecy surrounding the hitherto unknown relationships between Francis Bacon and the other little-known figures Hugh Holland, James Mabbe and Leonard Digges who contributed verses to the 1623 Shakespeare First Folio. Particularly, Bacon’s relationship with Leonard Digges, whose father Sir Nicholas Bacon was the special patron of his grandfather and father Leonard Digges and Thomas Digges, the poet whose verse prefixed to the First Folio refers to the Stratford Monument, which is adorned with Rosicrucian-Freemasonic symbols and Baconian ciphers, secretly commissioned by Francis Bacon and his Rosicrucian-Freemasonry Brotherhood.

It is little known that the 1623 Shakespeare First Folio contains a series of special Baconian-Rosicrucian-Freemasonic AA and Archer headpieces cryptically incorporating the monogram of Francis Bacon and in the case of the latter spelling out his name F. Bacon. Across the address by Ben Jonson in the First Folio ‘To the memory of my beloued, The AVTHOR Mr. WILLIAM SHAKESPEARE: AND what he hath left vs’, written during the period he was living with Bacon at Gorhambury, appears the Freemasonic Seven Set Squares headpiece, indicating to other members of the Brotherhood that Bacon was the concealed author behind the pseudonym Shakespeare and the secret Grand Master of all Freemasons who rules by the Square, with ‘what he has left vs’, alluding to the secret Freemasonic system left to the world for the future benefit of humankind. Beyond the fact that the Freemasonic Seven Set Squares appears over the Ben Jonson address in the Folio, the same headpiece appears numerous times throughout the volume over the following Shakespeare plays: The Merry Wives of Windsor, Much Ado About Nothing, A Midsummer Night’s Dream, As You Like It, Twelfth Night, King John, I Henry IV, 2 Henry IV, Richard III, Henry VIII, Romeo and Juliet, Timon of Athens and Hamlet.

In addition to all the above cryptic devices secretly inserted by Bacon in the Shakespeare First Folio there are also many remarkable and astonishing references and allusions to himself and members of the Bacon family, which for four hundred years have remained unfamiliar or unknown to the ordinary schoolmen, the casual student, and effectively the rest of the world. These include references and allusions to himself in several different plays where the character is in some instances named Francis and similarly where characters are named after his three brothers Sir Nicholas Bacon, Sir Nathaniel Bacon, and Anthony Bacon. Similarly in the First Folio there are references and allusions to his father and mother Sir Nicholas and Lady Anne Cooke Bacon, her sisters Lady Katherine Cooke Killigrew, Lady Elizabeth Cooke Hoby Russell and her husband John, Lord Russell, Lady Mildred Cooke Cecil and her husband William Cecil, Lord Burghley, as well as their offspring (Bacon’s cousins) Thomas Posthumous Hoby and Sir Robert Cecil, and the son of their brother William Cooke, named after his father, Bacon’s other cousin, known as William Cooke of Highnam Court in Gloucester.

In recent times a very substantial body of academic literature has been produced by orthodox critics and commentators surrounding the subject of Shakespeare and anagrams. Individually and collectively these writings illustrate and determine that not only was Shakespeare, the greatest poet of his age, but he was its greatest anagrammatist. In the First Folio Bacon secretly inserts numerous acrostics and anagrams confirming his authorship among them: I AM FRA[NCIS] BACON, FRANCIS BACON, FRAN [CIS] BACON, F BACON, BY ONE BACON, BY BACON, and BACON.

The Shakespeare First Folio embodies the philosophy and teachings of Freemasonry and contains overt and covert references and allusions to its secret practices, protocols, and customs. It is intimately familiar with knowledge of its degrees of initiations, and the constitution, rules, and regular workings of the Lodge. It is also familiar with the language and terminology of the Freemasonry Brotherhood, its secret signs, handshakes, and other forms of greetings and identification. It is most importantly saturated with the grand philosophical scheme of Bacon to regenerate the world and unite humankind into a truly global society based upon peace and love, the declared aim of his Rosicrucian-Freemasonry Brotherhood, to bring about over time the Universal Reformation of the Whole World.

Did Francis Bacon really die on April 9, 1626?

by A. Phoenix


SirBacon.org is excited to share the following work by A. Phoenix on Easter Sunday April 9, 2023 on the anniversary of Bacon’s “passing” on Easter Sunday April 9, 1626.

Did Francis Bacon die in 1626 or Feign his Death with the help of his Rosicrucian Brotherhood?

https://sirbacon.org/FRANCIS%20BACONS%20DEATH.pdf

Join the discussion on the B’ Hive Community Forum!

Francis Bacon’s Private Notebook with Hundreds of Parallels in his Shakespeare Works – The Promus

by A. Phoenix


SirBacon.org is excited to share the following work by A. Phoenix on the 462nd Birthday of Sir Francis Bacon, January 22, 2023.

Francis Bacon’s Private Manuscript Notebook (Known as the Promus of Formularies and Elegancies) The Source of Several Hundred Resemblances, Correspondences and Parallels Found Throughout his Shakespeare Poems and Plays

By A. Phoenix
January 2023

In ordinary circumstances this contemporary manuscript document named the Promus of Formularies and Elegancies would be well known to every Bacon and Shakespeare scholar and student of English literature around the world.

Bacon’s unique private notebook held at the British Library contains a total of 51 leaves numbered pages 83 to 132 all written (apart from some French proverbs) in his own hand. The Folio numbered 85 is headed ‘Promus’ and beneath it appears the date ‘Dec. 5, 1594’ with the Folio numbered 114 headed ‘Formularies Promus’ carrying the date ‘27 Jan. 1595’ (i.e., January 1596).

It contains 1655 entries jotted down as an aid to his memory.

The entries include single words, phrases, lines, turns of speech, metaphors, similes, aphorisms, and various moral and philosophical observations. These include entries drawn from the Bible; Latin, French, Italian, Spanish, and English proverbs; and lines and verses from classical poets and dramatists, among them, Virgil, Ovid, Seneca, Horace, and Terence.

This private notebook was used by Bacon as a literary storehouse from where he developed, expanded, and introduced ideas and themes into his acknowledged writings and works. 

In Shakespeare Studies in Baconian Light R. M. Theobald produced a list of around 500 Promus entries used by Bacon in his acknowledged writings, a number the orthodox scholar Charles Crawford stated could be significantly added to, and following his detailed study of the Promus in The Bacon Shakespeare Question N. B. Cockburn put the number at about 600. More recently, its modern editors Professor Stewart and Dr Knight in The Oxford Francis BaconEarly Writings 1584-1596 (Oxford Clarendon Press, 2012) specified that during a period of thirty years Bacon utilised these entries in the Promus for usage in a diverse range of categories and genres that included his private letters, speeches, dramatic devices, essays, religio-political tracts, legal writings, and several of his philosophical and scientific works.

In 1883 the indefatigable Baconian scholar Constance M. Pott published her monumental work entitled The Promus of Formularies and Elegancies (Being Private Notescirc1594hitherto unpublishedby Francis Bacon Illustrated and Elucidated by Passages from Shakespeare.

In a work running to more than six hundred pages, Pott reproduced a full transcript of the entries in the Promus alongside hundreds of parallel passages from the Shakespeare poems and plays. This work has remained virtually unknown for the last one hundred and fifty years because it has been systematically ignored and misrepresented by orthodox Bacon and Shakespeare editors and commentators as it manifestly demonstrates that Bacon is Shakespeare.   

Now here for the first time (unknown to or expanded upon by Pott and other previous scholars and commentators) beyond paralleling hundreds of entries from Bacon’s notebook against his Shakespeare poems and plays, the present work will show how these sources used by Bacon, the Bible, Erasmus, Florio (Italian proverbs), Heywood (English proverbs), and especially the classical poets and dramatists Virgil, Ovid, Seneca, Horace, and Terence, completely saturate his Shakespeare works, confirming beyond any doubt that he used his private notebook as an aid-to-memory and wellspring for his divine Shakespeare poems and plays.

For the full story about ‘Francis Bacon’s Notebook’ see:

PAPER: https://aphoenix1.academia.edu/research

FULL VIDEO:   https://youtu.be/LTfUbKb7KqU

TRAILER:

 JOIN THE DISCUSSION ON THE B’HIVE BACONIAN FORUM:
https://sirbacon.org/bacon-forum/index.php?/topic/367-francis-bacons-private-notebook-the-promus-source-for-hundreds-of-parallels-in-his-shakespeare-works 


Note from SirBacon.org – For further enjoyment visit https://sirbacon.org/baconspeakspromus.htm


Secret Bacon Signatures, Acrostics & Anagrams in Shakespeare

by A. Phoenix


A Very Happy 2023 to Everyone at SirBacon.org, B’Hive, and all Baconians around the World.

A Short 4 Minute Video Dedicated to Rob Fowler & Yann Le Merlus for all their great work.

The Bacon-Shakespeare Manuscript Part 2

by A. Phoenix


THE BACON-SHAKESPEARE MANUSCRIPT (HITHERTO KNOWN AS
THE NORTHUMBERLAND MANUSCRIPT) WHICH ORIGINALLY
CONTAINED COPIES OF HIS SHAKESPEARE PLAYS
RICHARD II AND RICHARD III.
By A Phoenix
November 2022

https://aphoenix1.academia.edu/research


The Bacon-Shakespeare Manuscript Part 2 Video

In 1867 an astounding Elizabethan document (c. 1596) was discovered at Northumberland House in London. It should have had the most extraordinary impact on the literary world as it reveals the true author of the Shakespeare works. Instead it was misleadingly named The Northumberland Manuscript and quietly either ignored or misrepresented for over 150 years.

Why?

The manuscript belonging to Francis Bacon contains copies of his early writings and originally his Shakespeare plays Richard II and Richard III.

The contents page reveals explosive information. The names of both Francis Bacon and William Shakespeare are scribbled repeatedly all over its outer cover.

This is the only contemporary Elizabethan document in the world that features both the names of Francis Bacon and William Shakespeare. Why then is it not the most famous document in the world? Because the Bacon-Shakespeare Manuscript contains a world changing truth. . .

Francis Bacon is Shakespeare.

For the full story about ‘The Bacon-Shakespeare Manuscript’ see:

PAPER: https://aphoenix1.academia.edu/research

Part 1 VIDEO: https://youtu.be/QDn8gdBqnIM

 

The Bacon-Shakespeare Manuscript

by A. Phoenix


THE BACON-SHAKESPEARE MANUSCRIPT (HITHERTO KNOWN AS
THE NORTHUMBERLAND MANUSCRIPT) WHICH ORIGINALLY
CONTAINED COPIES OF HIS SHAKESPEARE PLAYS
RICHARD II AND RICHARD III.
By A Phoenix
November 2022

https://aphoenix1.academia.edu/research


For the full story about ‘The Bacon-Shakespeare Manuscript’ see:

PAPER: https://aphoenix1.academia.edu/research

VIDEO: https://youtu.be/QDn8gdBqnIM

CONTENTS

1. The Silence of the Shakespeare Scholars p. 6
2. The Discovery of the so-called Northumberland Manuscript p. 12
3. The Outer Cover of Bacon’s Northumberland Manuscript p. 16
4. The Handwriting on the Outer Cover of the Bacon-Shakespeare Manuscript p. 38
5. The date of the Bacon-Shakespeare Manuscript p. 49
6. The Letters, Religio-Political Tracts and Dramatic Devices still Present in the Bacon-Shakespeare Manuscript and their links to his other Shakespeare poems and plays p. 51
7. The Anonymous Leicester’s Commonwealth the Most Scandalous and Explosive Political Tract of the Elizabethan Era p. 96
8. The Missing Pieces of the Bacon-Shakespeare Manuscript: Letters, Speeches, Essays, Dramatic Devices and Plays p. 150
9. The Shakespeare Plays Richard II and Richard III originally contained within the Bacon-Shakespeare Manuscript p. 167
10. References p. 200

FACSIMILES

1. The Outer Cover of Bacon’s collection of MSS known as the Northumberland Manuscript p. 18
2. A Modern Rendering of the Outer Cover of Bacon’s collection of MSS
known as the Northumberland Manuscript p. 19
3. The monogram of Francis Bacon commencing the first stanza of The Rape of Lucrece (1594) p. 21
4. The last page of The Rape of Lucrece containing the secret signature F. Bacon p. 22
5. The title page of Ars Adulandi, The Art of Flattery containing the verse scribbled over the outer cover of the Bacon-Shakespeare Manuscript p. 25
6. Page 136 of Love’s Labour’s Lost in the 1623 Shakespeare First Folio p. 27
7. The title page of the 1598 quarto edition of Love’s Labour’s Lost ‘By W. Shakespere’ incorporating the concealed acrostic BACON p. 29
8. The title page of the 1600 quarto edition of The Merchant of Venice p. 31
9. The title page of the anonymous 1597 quarto edition of Romeo and Juliet p. 34
10. The title page of the 1599 quarto edition of Romeo and Juliet with its concealed anagram BACON p. 35
11. First page of the 1599 quarto edition of Romeo and Juliet with its Baconian-Rosicrucian AA headpiece p. 36
12. The poem by John Davies ‘To our English Terence Mr. Will: Shake-speare’
revealing Bacon is Shakespeare p. 42
13. A facsimile copy of a letter from Francis Bacon to Michael Hicks p. 46
14. An enlarged part of the outside cover of the Bacon-Shakespeare MSS p. 47
15. The Tudor family Hilliard miniatures of Queen Elizabeth, Robert Dudley, and their concealed royal sons, Francis Bacon and Robert Devereux p. 53
16. The Baconian-Rosicrucian AA headpiece over the dedication page of the first Shakespeare poem Venus and Adonis (1593) p. 54
17. The White Hart Inn at the edge of the Bacon family estate at Gorhambury
with its Mural depicting the Boar and death of Adonis in Venus and Adonis and Bacon’s Boar Crest from the special copy of his Novum Organum p. 57
18. Francis Bacon’s Achievement of Arms headed with the Crest of a Boar p. 58
19. The title page of the 1591 edition of The Troublesome Raigne of Iohn King of England, with the discouerie of King Richard Cordelions Base sonne (vulgarly named, The Bastard Fawconbridge) p. 60
20. Portrait of Queen Elizabeth royal mother of Francis Bacon and Robert Devereux, Earl of Essex p. 74
21. Portrait of Francis Bacon concealed Prince of Wales heir to the throne p. 75
22. Portrait of Robert Devereux a Royal Tudor Prince p. 76
23. The title page of Bacon’s Sagesse Mysterieuse Des Anciens depicting  allas Athena the Shaker of the Spear from where he derived his nom de plume
Shake-speare with the two mottoes ‘Truth is enveloped by obscurity’ and ‘Thus it shines in the shadows’ p. 78
24. The emblem on the title page of New Atlantis (Land of the Rosicrucians) with the inscription ‘In Time the Hidden Truth Will be Revealed’) p. 79
25. The Pregnancy Portrait of Queen Elizabeth p. 87
26. Portrait of her secret husband Robert Dudley, Earl of Leicester p. 88
27. Portrait of Francis Bacon as a child p. 89
28. The title page of the 1584 edition of Leicester’s Commonwealth p. 97
29. The title page of the 1641 edition of Leicester’s Commonwealth p. 106
30. The title page of the 1641 edition of Leicester’s Commonwealth attributed to Robert Parson p. 107
31. The title page of the 1706 edition Secret Memoirs of Robert Dudley, Earl of Leicester (Leicester’s Commonwealth) p. 110
32. The title page of the 1904 edition of the History of Queen Elizabeth, Amy Robsart and the Earl of Leicester (Leicester’s Commonwealth) p. 111
33. Deciphered title page of the 1584 edition of Leicester’s Commonwealth p. 140
34. The deciphered ‘The Preface of the Conference’ page from Leicester’s Commonwealth p. 141
35. The deciphered emblem prefaced to the 1585 French version of Leicester’s Commonwealth p. 144
36. The English version/translation of the ‘Addition of the Translator’ appended to the 1585 French version of Leicester’s Commonwealth (Exeter College,
Oxford MS 166) p. 145
37. The title page of the 1597 edition of Bacon’s Essays p. 153
38. The title page of the 1598 edition of Bacon’s Essays p. 154
39. The Baconian-Rosicrucian AA headpiece on the anonymous Epicedivm, A Funerall Song, vpon the vertuous life, and godly death, of the right worshipfull the Lady Helen Branch (1594) p. 158
40. The first page of Epicedivm containing reference to The Rape of Lucrece and Asmund and Cornelia replete with a 33 Bacon cipher p. 159
41. The monogram of Francis Bacon commencing the first sonnet in the 1609 edition of Shakespeares Sonnets p. 160
42. The monogram of Francis Bacon commencing the first verse of A Lover’s Complaint with an acrostic spelling out the name of its author Bacon p. 161
43. The Baconian-Rosicrucian AA headpiece above the dedication page of Nashes Lenten Stuffe (1599) p. 163
44. The Baconian-Rosicrucian AA headpiece on the title page of Pierce Pennilesse his supplication to the Diuell (1595) p. 164
45. The Baconian-Rosicrucian AA headpiece above the first page of the 1597 edition of Richard III p. 168
46. The Baconian-Rosicrucian AA headpiece above the first page of the p. 169 1598 edition of Richard III
47. The Baconian-Rosicrucian AA headpiece above the first page of the 1597 edition of Richard II p. 170
48. The Baconian-Rosicrucian AA headpiece above the first page of the 1598 edition of Richard II p. 171
49. The deciphered title page of the 1597 edition of Richard II p. 195
50. The deciphered title page of the 1597 edition of Richard III p. 196
51. The anagram BACON on the title page of the 1598 edition of Richard III p. 197
52. The deciphered title page of the 1599 edition of The First Part of the Life and Raigne of King Henry IIII p. 198

 


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46 Great and Rare Quotes about Francis Bacon and the Shakespeare Works

by A. Phoenix


It is little known that there are a substantial number of passages by professors and academics relating to the links and connections between Bacon and Shakespeare. These links appear in largely inaccessible or out of the way learned journals or other difficult to obtain publications that the majority of scholars, students and casual readers are unfamiliar with. I have therefore thought on the basis that they may be of interest to a wider audience to gather them together in one place for those with an interest in Francis Bacon and Shakespeare and the authorship of the Shakespeare works.

Two Formats : One is in text form and the other is the video.

Short paper available here:   https://www.academia.edu/90586683/Great_and_Rare_Quotes_About_Francis_Bacon_and_The_Shakespeare_Works

Great & Rare Quotes About Francis Bacon & The Shakespeare Works

The full text PDF is posted below the YouTube video.

Video here:

 

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