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Christie Waldman

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  1. Thank you for sharing that wonderful reference, Eric. I did not have it. In Elizabeth Wells Gallup, The Tragedy of Anne Boleyn (appendix), the sources deciphered include works by Shakespeare, Greene, Peele, Marlowe, Jonson, Burton, Spenser, Bacon--whether names or pseudonyms (my book, appendix 2.). Also, from my book: Shakespeare wrote plays about Henry IV, V, VI, and VIII of England, skipping Henry VII. Francis Bacon completed one history of a King Henry, that of Henry VII (1622), although he had begun a history of Henry VIII. In The History of the Reign of King Henry VII, he invented speeches for several main characters, including Perkin Warbeck. John Ford’s play, ca. 1630, about Perkin Warbeck, was based on Bacon’s The History of Henry VII. (John E. Curran, Jr., Character and Individual Personality in English Renaissance Drama: Tragedy, History, Tragicomedy (Newark: University of Delaware Press, 2014), pp. 272-276, 280-281, 289-290). Robert Cotton had written a history of Henry III of England (a thinly-veiled political commentary paralleling King James’ reign), and John Selden’s Jani Anglorum takes the history of England through the decease of Henry II. (Graham Parry, The Trophies of Time, pp. 105, 87-88). Among the three of them, they had covered the history of the English kings through Henry VIII. Planned or coincidence? --my book, p. 219, fn 2. Selden Book, http://name.umdl.umich.edu/A59093.0001.001.
  2. OK, I understand, Light-of-Truth. We write as if we were just among friends, but the whole world can read it. Both are good to remember. I just wanted to be able to find the quotation. I didn't recognize it from my book. It makes a lot more sense, Eric, that you had found it in that article. Fleetwood knew whereof he spoke. Maybe more explanation on the Latin would be good? Latin is an "inflected language." That means they used endings on their words to convey information about the function of the word in the sentence. It helped them say a lot in few words--important when you are chiseling in stone! So if you have a sentence, "I gave John a gift," you'd have different endings on the words for "I" (subject of the sentence, the person doing the action (called nominative case in Latin); the person you gave the gift to (indirect object, called "dative case" in Latin); and the thing that you gave (the direct object, in Latin called the "accusative case"). So Jacobus (James, the subject of the sentence) succeeded ("succedit") _______. You expect a name to follow that verb and fill in the blank. In a succession, something follows something. In Latin, that word to fill in the blank would have a certain case ending (in this case, it would be dative, because succedit "takes" the dative case). In the inscription, the word we would expect to find in that spot--with the right case ending--is not there. There is no word with the right case ending in the inscription. All this, I think, reinforces the notion that the word we'd expect to find was deliberately removed. That is all I was saying. They didn't have to put in the word succedit at all. They hadn't done it for any of the others in that list. To use it deliberately pointed out the aberration in the natural line. Seems to me, anyway. But even without the Latin, it's pretty clear a word was removed, isn't it.
  3. Both Elizabetha and Iacobus are in the Latin nominative case, used for subjects doing the action. Thus, the inscription is not saying Iacobus succeeded Elizabetha, if the Latin is being used correctly. The Latin verb succedo usually would take the dative when used in that sense of "coming after., according to Cassell's Latin Dictionary. The dative of Elizabetha would be Elizabethae. None of the others use the word succedit. On this topic, there is also Bacon's portrait appearing in Compton Holland's Baziliologia, A Booke of Kings (1618). From the FBRT essay, "Portraits of Francis Bacon," p. 2. Eric, if you are citing from my book, would you please give the full citation with the page number, so I can find it. Thanks!
  4. From Eric, 16 hrs. ago, this thread: "Equally interesting is the fact that Northumberland House stood next door to York House, where Francis Bacon lived during the years he was Lord Keeper." York House, also known as Bacon House, on Noble Street, in Aldersgate, was where the King's printer, Christopher Barker and son Robert, printers, lived and printed. "Noble Street," https://mapoflondon.uvic.ca/NOBL1.htm/. Foster Lane, labelled here as Forster Lane, https://mapoflondon.uvic.ca/FOST1.htm. Here is Fleetwood residence, "of Bacon House, Foster Lane and Noble Street," https://www.historyofparliamentonline.org/volume/1558-1603/member/fleetwood-william-i-1525-94. Foster Lane--I've seen a convoluted definition for why it was called Foster Lane. It couldn't have had anything to do with Bacon being a foster parent, could it. "It has revealed to us also: first, that the Barkers' printing house was in St. Martin's Lane, off Aldersgate Street, and was known as Northumberland House, and that it served as the King's Printing House until Bonham Norton removed the office to Hunsdon House, Blackfriars." Henry R. Plomer, "The King's Printing House under the Stuarts,"The Library, Volume s2-II, Issue 8, October 1901, Pages 353–375, 374, https://doi.org/10.1093/library/s2-II.8.353. In this paper, I cited a Paul Kocher article which gave a wrong citation as to Fleetwood's account of Bacon's speech. I believe I gave the correct one. I certainly intended to. Essay, “Bacon’s Maiden Speech to Parliament and His Royal Birth,” June 15, 2020. https://sirbacon.org/archives/Bacons%20Maiden%20Speech%20to%20Parliament%20&%20His%20Royal%20Birth%20June%2015%202020-1.pdf. See the entry for "Coachmakers' Hall, Coach Harness Maker's Hall" at https://www.british-history.ac.uk/no-series/dictionary-of-london/coach-and-horses-inn-cock#h2-0001. The house had been bought by Charles Bostock, a Scrivener, in 1628 and used as Scriveners Hall, with ownership transferred to the Scriveners by Bostock in 1631. The Scriveners rebuilt the hall and eventually sold it to the Coachmakers. It was Scriveners Hall 1628-1720 (destroyed in the Great Fire of 1666 and rebuilt). After 1720, it was called Coachmaker's Hall. They rebuilt it in 1843 and 1870. It was destroyed by bombs in WW II and there is a plaque there now, at Noble St. near Oates St., not far from the graveyard where the St. Mary Staining church burned down in the Great Fire and was not rebuilt. I had this in my notes. I don't have any other references handy, but I can tell you that I found out a lot more searching Coachmaker's Hall or Scrivener's Hall than I did searching for Bacon House or York House.
  5. As to the "spectral presence" of Bacon for which A Phoenix quotes Jonathan Lamb, in A Phoenix's video, "46 Quotes About Sir Francis Baconand the Shakespeare Works," and paper, "Francis Bacon and the Shakespeare Works," as follows: The spectral presence of Bacon permeates the fabric of The Merchant of Venice and apart from Bassanio several other characters in the play bear a striking resemblance to Bacon. Professor Lamb voices that not only does ‘Bassanio and Shylock resemble Bacon’, but so too its heroine ‘Portia’s legal, economic, and even religious advantages …may even suggest an association with one of early modern England’s most famous lawyers, Francis Bacon’ and she ‘works as a hypothesis-based scientist avant la letter, while other figures bear a striking resemblance to what would become known as Baconian induction.’ Jonathan P. Lamb, Shakespeare In The Marketplace Of Words (Cambridge University Press, 2017), p. 79. I wanted to mention that I had previously noted the "presence" of Bacon both in my book, Francis Bacon's Hidden Hand (Algora Publishing, 2018) and in the online version posted here at SirBacon.org in pdf, "Bacon is Bellario with “Just Desserts” for All!" (SirBacon.org, July 28, 2016). In the July, 2016, pdf, I wrote that Mark Edwin Andrews "offered no concrete explanation for Bacon's uncanny, unseen "presence" in this play" (p. 7). In my book, the wording became, "Andrews seems at a loss to rationally explain Bacon's strong "presence" within the play" (p. 17). And Simon Miles, in his "Foreword," wrote, "She does not need to press the point, because the conclusion is all but unavoidable: the play is Bacon's, through and through. It is permeated by his presence." (p. 6) In the pdf (p. 52, fn 218), I quoted from Bacon's "Maxims of the Law": Bacon’s words in his “Maxims of the Law” remind me, figuratively, of Bellario’s ephemeral, off-stage yet controlling “presence”: 'Like law it is, but more doubtful, where there is not a presence, but a kind of representation which is less worthy than a presence, and yet more worthy than a name or reference' (in explaining that a mistake in age on a portrait of a woman “tendered,” in lieu of the woman herself, in a marriage contract would not invalidate the contract). Francis Bacon, “Maxims of the Law,” ‘Regula XXIV,’ in Spedding, Works VII, p. 381. I have just today realized that this quotation is not in my published book! This is unfortunate, for, as anyone can see, here Bacon is describing the very phenomenon we've been describing as occurring in The Merchant of Venice, of something less that a presence, yet more than a nothing. And it is in Regula 14 where the opening paragraph is about degrees of certainty and proof. Presence is more important than name, he says, and below that is demonstration or reference. Also, as to The Merchant of Venice, look at Regula 12 in Bacon's "Maxims," on bonds and duress, Spedding 7:378-379! Bacon's Maximes of the Common Lawes of England were not published until 1631. From the SirBacon.org "old" "New Page": "on what's new page of sirbacon July 28, 2016 Christina G. Waldman has contributed a new essay, Bacon as Bellario with "Just Deserts for All" : An explanation of Mark Edwin Andrews' Second Argument in "Law v Equity" in "The Merchant of Venice's Legalization of Act IV, Scene I " http://www.sirbacon.org/Bacon-as-Bellario-a-new-Review.pdf" If I have been remiss in failing to continue to fully acknowledge that earlier versions of what became my book were first published online here at SirBacon.org, I apologize and will try to remedy that in the future. It was not from lack of gratitude. There may be errors in the early pdf, as to dates, etc., that were corrected in the book. That was the main reason I had previously asked Lawrence to take down the pdf version. I hope to have restored the live link here? Thank you for this forum! Christie 11-17-2022 11-24-22: I made an entry on all this at my website because the quotation from Bacon on "presence" is such an important quotation, https://christinagwaldman.com/errata-updates-and-feedback/. I am gratetul to you, A Phoenix, for directing my attention to the fact that this quotation was inadvertently left out of my book.
  6. I hear you. Thanks for all you do, Rob and Lawrence! I was thinking I would try to avoid using links so much and just use "descriptive hints" to the URL without creating an actual link, unless the site is extremely stable. I wish I were a better proofreader. My boyfriend is way better at it than I am. You all are doing a fine job with this beautiful site. I am sorry I have made more work for you. Many thanks, Christie
  7. The link provided at July 12, 2022 regarding Brian McClinton's book does not work. Since his death, the Irish Free Thinkers Website has changed.
  8. I should have known there was a "method to your madness," LIght-of-Truth! I can't add much to the numbers discussion, but word naming etymologies interest me. It was a thing the ancient writers did. Vergil did it a lot. It makes sense that the "classical scholar who was Shakespeare" would do it. I've read that Bacon quoted Virgil more than any other author, though I've also read it was Cicero. I woke up this morning wanting to know more about Ajax, Aeton, and the eagle connection you mentioned, Yann. Yesterday, I was trying to find the Greek word for the Latin "Ajax" on the internet. As I said, I've studied Latin, not Greek! Alas! Yesterday, the "internet" was giving me "aethon" for "Ajas." Today, it gives me "aias." No one knows for sure what the name Ajax means. Guesses are that it comes from Aia, "earth," and "aiai," thought to sound like a cry of mourning. I also saw "light." references. Aeton (Greek "aithon") could mean: "of a boar," of horse," "sleek, shining, fiery," "orange tawny," etc. http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3D%232363&redirect=true. The Wikipedia article, "Aethon," says Hyginus calls the eagle who tormented Prometheus aethonem aquilam. Hilary Gatti wrote that Giordano Bruno in his poetry changed the eagle which tormented Prometheus into an Icarus image. Hilary Gatti, The Renaissance Drama of Knowledge, 86. Compare Bacon in the De Aug, Spedding 4:336, perhaps. (I'll try to look it up later--I mentioned it in my book, p. 36, suggesting Bacon as a Lucretian-type poet.) Aietos is Greek for "eagle." "One myth claimed that Ajax was named for the eagle (aietos in Greek) that appeared before his birth as a sign of his future strength (see below for more on this myth). " https://mythopedia.com/topics/ajax-the-greater. Aetiology is the study of causes. This is preliminary, but might be of interest? Also, this resource might be useful, Jeffrey Wilson, "Ajax in Greek Literature," (with quotations from classical authors, beginning with Chapman's Homer) https://wilson.fas.harvard.edu/stigma-in-shakespeare/ajax-in-greek-literature. The Greek word for "throw" is not like iacio but is ballo, ballein from which the word symbol derives (sym, together, and bal/bol, to throw) https://brainly.com/question/5714887. Edited: adding the quotation from Spedding 4:336 I promised, first paragraph of Book 3, chapter 1, of The Advancement of Learning. All History, excellent King, walks upon the earth, and performs the office rather of a guide than of a light; whereas Poesy is as a dream of learning; a thing sweet and varied, and that would be thought to have in it something divine; a character which dreams likewise affect. But now it is time for me to awake, and rising above the earth, to wing my way through the clear air of Philosophy and the Sciences." Then he divides all knowledge into Divinity ("sacred or inspired") and Philosophy, and philosophy into "knowledge of God, knowledge of Nature, and knowledge of Man, or Humanity" (p. 337). Here he defines his terms, telling us exactly what he means by the word "philosophy," which helps, since the word does not mean the same thing to us today as it did then. "There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy." He has personified History as if it were a character. Also, since I'm here, rather than create a new post, I had wanted to add another quotation on theatre, from the Vickers article on theatre imagery on Bacon's use of the Orpheus myth. In concluding that "Bacon in the theatre was neither a stranger nor an enemy," Vickers ends his article, "Bacon's Use of Theatrical Imagery," with this quotation from Bacon: Orpheus' theatre, where all beasts and birds assembled, and forgetting their several appetites, some of prey, some of game, some of quarrel, stood all sociably together listening unto the airs and accords of the harp. Spedding 3:302 (quoted in Brian Vickers, "Bacon's Use of Theatrical Imagery," The Legacy of Francis Bacon, Studies in the Literary Imagination 4 no 1 (April, 1971), 189-226, 226. The quotation is from the Preface to the Advancement of Learning. Also, on Bacon and the "Orphic myth," see Brian McClinton, The Shakespeare Conspiracies, chapter 7, "A Dream of Learning," 161-176, 167-168) (quoting Two Gentlemen from Verona Act 3, Scene 2 and other good material). Thanks for letting me edit Light-of-Truth!!!!
  9. Thank you, Yann. I feel like an idiot for not recognizing Zeus. Still I am wondering, is there another reason why "Shakespeare" chose the name of the warrior Ajax, other than that it has the same number as Bacon? This is just musing: Ajax, in classical Latin Aiax, makes me think of the Latin verbs iacio, iacere (from which "eject" comes) and iacto, iactare which can mean "to throw, cast, hurl" missiles (Cicero used iacto with hasta, spear, pike, javelin). Another meaning of iacto is "to let fall in speaking; in gesticulation." (Cassells Latin Dictionary, 1968). When I look up the meaning of the name Ajax in Greek, online, I see "a mourner, of the earth, or, light," often with reference to the two Ajaxes, or "etymology uncertain." I have not studied Greek, only Latin. It might have been a bit of a pun for Shakespeare, with the Latin word iacio sounding like Ajax, if the "j" was pronounced "y" Jakes was Elizabethan slang for "privy"; so was Ajax! http://elizabethan.org/compendium/29.html. Or, Jakes could mean a common fellow. https://www.etymonline.com/word/jakes. One theory is that the English name "Shakespeare" generally, or forms of it, derived from "Jacques Pierre." Just musing.
  10. Dear Allisnum2er, What you have written raises more questions for me! Who is that depicted in your illustration of the cover of book 9 of the De Augmentis? Ajax? How would we know him as Ajax? Are there any more details you would be able to provide, with regard to what you wrote? Perhaps you are right that Twain chose the "bronto" rather than the "apato" because "apato" came from an ancient Greek word for "fake." But he would have have come across the Greek etymology, to have done it for that reason. It's possible. I am not completely sold on your hypothesis. Still I bet you are right that there is something behind that name, why Twain chose it. After reading your post, I found out Twain also wrote about the brontosaurus in "Extracts from Eve's Diary." http://www.monologuearchive.com/t/twain_006.html. Here is another link, "Sam's Short's, 'Adam's Soliloquy,' 1905," Mark Twain House and Museum, Sept. 14, 2020, https://marktwainhouse.org/2020/09/14/sams-shorts-adams-soliloquy-1905/. In case anyone is interested. I had previously become interested in the Marsh family. The paleontologist Othniel Charles Marsh was said to have been born not far from me in Lockport, New York (Oct. 29, 1831). The name "Othniel" is unusual. In the Bible, Othniel was the son of Caleb's younger brother. Caleb Marsh, father of Othniel, was the younger brother of John Marsh, American pioneer, whose French-Native American (probably common law) wife, Marguerite (Decoteaux), is said to have died in childbirth, and her infant daughter too, in 1831 (George D. Lyman, John Marsh, Pioneer (New York: Charles Scribner's Sons, 1930), ch 23). John Marsh and Marguerite also had a six-year-old son, Charles, whom Marsh left, to be raised by his friends, the Pantiers, in Salem, Illinois, when he went out West after Marguerite's death. I have read that Othniel had adopted Indian ways. He became good friends with Sioux Indian chief Red Cloud after he advocated for the Sioux on Red Cloud's behalf in Wash. D.C. This interesting National Park Service article says the name "brontotherium" coined by Othniel came from the Indians' association of "giants in the land" with thunder, "inspired by Lakota oral histories": "Brontothere: Large beasts of the Badlands," Nov. 10, 2020, https://www.nps.gov/articles/brontothere.htm. There's also this article. https://www.strangescience.net/marsh.htm. The articles all say Othniel was "born poor." His dad Caleb was a farmer. His father may have been money-poor, but he owned land. The Marsh family could trace its ancestry back to 1633 when John Marsh of Salem, Massachusetts, arrived from England and married Susanna Skelton, daughter of the first minister of the first Christian church in Massachusetts (Lyman, 4-5). I guess Twain is pointing out the problems in trying to accurately reconstruct a dinosaur from old bones, a good metaphor for all of us to keep in mind, I think. Sorry, this has gotten off on a tangent.
  11. Thank you for looking up my reference, Light of Truth. Citation for Light-of-Truth's quotation: Mark Twain, ch 5, "We May Assume," Is Shakespeare Dead? From My Autobiography (New York: Harper and Brothers, 1909), 50-55, 50. I found it by searching the word "sure" in the free edition on Google. Odd, Twain is more in line with Bacon's own observation, "If we begin with certainties, we end with doubts," than he was (or at least, saw himself to be) with the Baconians of his time. That was why he called himself a "Brontosaurian." It all depends on how you define "Baconian." People who studied the life and works of Francis Bacon used to be able to call themselves "Baconians." Twain thought the proof would come. (I am not entirely happy with that last sentence. As I recall, Twain was confident that work being done with ciphers would provide the "proof." That was what I meant.)
  12. I think what Twain said was he didn't know whether Bacon was Shakespeare, but he thought it was a lot more likely that Bacon was Shakespeare than that William Shaxpere was.
  13. Thank you for sharing that great additional Vickers quotation, A Phoenix. The reason I asked about sources was because I know how hard it is to search fourteen volumes of Spedding. Such great quotations you have found! One of these days the late British barrister N. B. Cockburn's book may be reprinted or made into an e-book (we hope). He has an entire chapter on Bacon and theatre: "Bacon's Interest in the Theatre," The Bacon Shakespeare Question: The Baconian Theory Made Sane (1998), pp. 21-40. On pp. 30-31, he provides content from Baconiana vol 7, 3rd Series (July 1909) ("minor literal references to the theatre" and "use of theatrical metaphors"). He does not mention the Vickers essay, that I saw.
  14. Very nice presentation! I loved the music. Did you use sources for the quotations? I am just now reading Brian Vickers' article, "Bacon's Use of Theatrical Imagery," The Legacy of Francis Bacon, Studies in the Literary Imagination 4, no 1 (April, 1971), 189-226. It collects a lot of examples from Bacon. Here is an important one, I think. In writing about John Ford's play, Perkin Warbeck which used Bacon's History of the Reign of Henry the Seventh as its basis, Vickers observes: Dr. Righter has singled out Shakespeare as being "almost unique" in his use of the Player King metaphor. It is not impossible, of course, that Bacon may have learned from him, but at all events on this point he is to be placed beside Shakespeare. (new par) Bacon's History of Henry VII was the acknowledged source for Ford's Perkin Warbeck, and it is interesting to see how Ford has drawn on Bacon's image-sequence. In a footnote, Vickers writes, Dr. Righter suggests the influence on Ford of Shakespeare's concept of the Player King [source citation omitted]. This may be so, of course, but the direct influence of Bacon is demonstrable, and it is significant (although comparisons such as this are always dangerous material for the 'Baconian' lunatic fringe) that both Bacon and Shakespeare should have responded both to the majesty and to the instability of the Player King (pp 223-224, nn 83, 84). So, Bacon could have gotten it from Shakespeare, and any anyone who thinks the reverse might be true is part of the "Baconian lunatic fringe"! Does that sound logical? (I suppose that, like so many things, this ought also to go in "Evidence.")
  15. And I think, if I remember correctly, the "hoax" they were talking about in the CBS article was different, something I had never heard of before, so thanks for posting the article. But enough from me on all of this!
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