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Six Primary Documents Confirming Francis Bacon is Shakespeare


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SIX PRIMARY DOCUMENTS CONFIRMING FRANCIS BACON IS SHAKESPEARE

1] FRANCIS BACON’S PRIVATE NOTEBOOK THE PROMUS OF FORMULARIES AND ELEGANCIES A MAJOR SOURCE FOR HIS SHAKESPEARE POEMS AND PLAYS

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. It is the source of several hundred resemblances, correspondences and parallels found throughout his Shakespeare poems and plays.

PAPER: https://www.academia.edu/95355522/Francis_Bacons_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

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SIX PRIMARY DOCUMENTS CONFIRMING FRANCIS BACON IS SHAKESPEARE

2] FRANCIS BACON’S OWN COLLECTION OF MSS KNOWN AS THE NORTHUMBERLAND MANUSCRIPT ORIGINALLY CONTAINING HIS TWO SHAKESPEARE PLAYS RICHARD II AND RICHARD III

The Bacon collection of manuscripts hitherto known as The Northumberland Manuscript contains various writings by Bacon, comprising letters, essays, religio-political treatises, dramatic devices and originally held two of his Shakespeare plays Richard II and Richard III. 

All the evidence makes tolerably certain that no part of the manuscript was written after c.1596-7. The precise dating of the manuscript is not merely some historical curiosity. The precision of the date is of the most manifest importance for the very simple reason that in 1597 William Shakespeare was not publicly known as a dramatic author. The pseudonym first appeared on the 1598 quarto edition of Loves Labours Lost the same year it appeared on the title pages of the quartos of Richard II and Richard III, most probably printed from the manuscripts that were originally part of this Bacon-Shakespeare Manuscript.

In addition to originally having held two of Bacon’s Shakespeare plays Richard II and Richard III, the outer cover of his collection of manuscripts contains references and links to his narrative Shakespeare poem The Rape of Lucrece and another three of his Shakespeare plays Loves Labours Lost, Romeo and Juliet & The Merchant of Venice. This is moreover the only manuscript where the names Bacon and Shakespeare appear together in a contemporary document. Various forms of his name Bacon and Francis Bacon and pseudonym Shakespeare and William Shakespeare are scribbled all over its outer cover on around twenty occasions. Above the entry for his Shakespeare play Richard II appears the entry ‘By Mr. ffrauncis William Shakespeare’, and further down the word ‘Your’ is twice written across his pseudonym William Shakespeare-so it reads ‘Your William Shakespeare’. As if to emphasise this entry a second occurrence of the name ‘ffrauncis’ is written upside down above the first ‘ffrauncis’ thus reading from left to right ‘ffrauncis William Shakespeare’. Below the entry for ‘Rychard the second’, and above the entry for ‘Rychard the third’, appears his name ‘ffrauncis’ and to the left ‘Bacon’ and the right ‘Shakespeare’. Below at the bottom of the outer cover his pseudonym ‘William Shakespeare’ is repeated numerous times, and as if to emphasise one more time Bacon is Shakespeare, we are met with the possessive entry ‘your William Shakespeare’.

PAPER: https://www.academia.edu/91789871/The_Bacon_Shakespeare_Manuscript_Hitherto_known_as_the_Northumberland_Manuscript_which_originally_Contained_Copies_of_his_Shakespeare_Plays_Richard_II_and_Richard_III

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SIX PRIMARY DOCUMENTS CONFIRMING FRANCIS BACON IS SHAKESPEARE

3] 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

In 1577 the first edition of The Chronicles of England, Scotland, and Ireland credited to one Raphael Holinshed was published at London, a seminal work whose secret association with  Francis Bacon and the Bacon family is more than four centuries later revealed here for the first time. A much revised and greatly expanded multi-volume work was republished in 1587. This second edition was the one used by Shakespeare as one of the primary sources for his English History Plays covering the War of the Roses from Richard II to Richard III, and for Bacon’s prose history of Henry VII (the only reign not covered by him in the history plays) and his final English History Play Henry VIII. It is also a major source for one of his greatest tragedies Macbeth and further provided material for King Lear and Cymbeline.

Just imagine for a single momentous moment if an intrinsically priceless copy of the 1587 edition of what is now known as the Shakespeare Holinshed owned by our supreme poet and annotated and underscored in his own hand all over his Shakespeare History Plays existed or was still extant. Well, what would you think then, if I told you that a unique copy of the 1587 edition of the Shakespeare Holinshed existed, one copiously underscored and annotated in the divine hand of the bard in the marginalia alongside his English Shakespeare History Plays? Well, if it does exist then you might reasonably ask, why does the world not know about it? Because it is the smoking gun of the Shakespeare Authorship Controversy. This unique copy of the Shakespeare Holinshed which has been hidden away for the last 85 years confirms the Truth about the greatest literary secret of all time; namely, the true identity of the author of the Shakespeare works. 

The title page of the 1587 Shakespeare Holinshed sports five elaborate monograms composed with the initials W.S. formed in such a way that the pen never leaves the paper until completion in the flourish of a single stroke. Dr Longworth de Chambrun informs her readers that these personal monograms are found on the outer cover of the so-called Northumberland manuscript. In fact, in her own words, anyone familiar with Shakespeare’s personal copy of the Holinshed Chronicles extensively annotated in his own hand and the Northumberland Manuscript, with the names of Bacon and Shakespeare written all over its outer cover, would at a single glance know they originally belonged to the same man. Of which there can be no doubt whatsoever.

The unique copy of the 1587 edition of the Shakespeare Holinshed with its annotations and underscored portions in Bacon’s own hand alongside passages used for his Shakespeare plays is the smoking gun of the true authorship of the Shakespeare works. Finally, after more than two hundred years of authorship controversy we have proof positive that Francis Bacon wrote the Shakespeare works, which collapses the greatest literary fraud in the history of the world.

PAPER: https://www.academia.edu/112668316/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

VIDEO: https://youtu.be/RPMwkcxLjXo

2 MIN TRAILER VIDEO: https://youtu.be/7ylDy8tFiRY

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SIX PRIMARY DOCUMENTS CONFIRMING FRANCIS BACON IS SHAKESPEARE

4] THE SO-CALLED ‘DERING’ MANUSCRIPT OF HENRY IV THE UNIQUE AND EARLIEST KNOWN SHAKESPEARE MANUSCRIPT (c. 1596) ORIGINATING FROM BACON’S LITERARY WORKSHOP AND CORRECTED IN HIS OWN HAND

It is little known to virtually all Shakespeare scholars, the ordinary schoolmen, and the rest of the world that there exists an early manuscript version of the play Henry IV. This manuscript is the earliest extant manuscript of a Shakespeare play ever discovered.

This manuscript was discovered in 1844 preserved in the collection of the eighth Baronet Sir Edward Dering (1807-96) at Surrenden Hall near Pluckley in Kent. It had previously formed part of the library of the first Sir Edward Dering (1598-1644), an antiquarian with an interest in literature and drama, named after his uncle the Puritan preacher Edward Dering patronised by the Cooke sisters Lady Anne Cooke Bacon, Lady Elizabeth Cooke Hoby Russell, Lady Mildred Cooke Cecil and Lady Cooke Killigrew. The relatively obscure Sir Edward Dering (1598-1644) about whose early life very little is known was-here revealed for the first time-a close friend and relative (twice over) of the author of Henry IV Francis Bacon.

The so-called Dering manuscript is a single-five act Shakespeare play of Henry IV and is earlier than the first printed quarto of The Historie of Henrie the fourth issued in 1598 and the quarto edition of The Second part of Henrie the fourth printed in 1600. The MS represents the play as Bacon originally composed it when it was one play and not two before developing his original version into two separate parts. Furthermore, we can be reasonably precise regarding the date of the manuscript. It is widely agreed Henry IV followed closely upon Richard II as not only is Henry IV next chronologically its predecessor Richard II clearly points to a sequel. The earlier Richard II is believed to date to around late 1595 or early 1596, and Henry IV was probably composed shortly after, sometime in 1596.

The so-called corrector’s hand in the so-called Dering manuscript is Bacon’s own cramped hand, as one would expect, from the author of the play.

PAPER: https://www.academia.edu/85225460/Francis_Bacon_and_the_so_called_Dering_Manuscript_of_Henry_IV_the_Unique_and_Earliest_Known_Manuscript_of_a_Shakespeare_play_or_the_Holy_Grail_of_Shakespeare_Scholarship_a_Shakespeare_Manuscript_c_1596_Originating_from_Bacons_Literary_Workshop_and_Corrected_in_his_Hand

VIDEO: https://youtu.be/-7nzkrGEKeI

 

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SIX PRIMARY DOCUMENTS CONFIRMING FRANCIS BACON IS SHAKESPEARE

5] THE 1623 SHAKESPEARE FIRST FOLIO

On 8 November 1623 Edward Blount and Isaac Jaggard entered on the Stationers’ Register sixteen Shakespeare plays which had not been previously published. Another twenty previously published plays were added giving a total of thirty-six plays in the First Folio therein divided into Comedies, Histories and Tragedies, in an enormous volume of more than nine hundred pages, representing the greatest secular publication in the history of English literature, whose untold impact around the world over the last four hundred year has never been fully understood and thus never fully told. 

On its 400th anniversary a recent work entitled 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. For the first time, it brings forth the hidden connections of its author Francis Bacon and his Rosicrucian-Freemasonry Brotherhood with all the key members involved in its production, printing, and publication. 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 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 First 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 key reason is Martin Droeshout and the famous/infamous 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 semi-illiterate William Shakspere of Stratford was the author of the greatest literature in the history of the world, that at a single 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 the life, that points to Bacon sitting for it at Gorhambury. The complex engraving has clearly been very carefully planned out 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 all 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.  

It also lifts 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 own 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 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.

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 three 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.

PAPER: https://www.academia.edu/103102421/The_1623_Shakespeare_First_Folio_A_Baconian_Rosicrucian_Freemasonic_Illusion

VIDEO: https://youtu.be/v1KM77xaUbs

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SIX PRIMARY DOCUMENTS CONFIRMING FRANCIS BACON IS SHAKESPEARE

6] The Memoriae Honoratissimi Domini Francisci, Baronis De Vervlamio, Vice-Comitis Sancti Albani Sacrum (1626) containing 32 Latin verses cryptically conveying Bacon is Shakespeare

In the months following the death of Francis Bacon to the world his trusted Rosicrucian Brother Dr William Rawley gathered together and published a commemorative work in his honour entitled Memoriae honoratissimi Domini Francisci, Baronis de Verulamio, vice-comitis Sancti Albani sacrum, otheriwse known as the Manes Verulamiani. This rare volume contains thirty-two Latin verses in praise of Bacon which his orthodox biographers and editors have simply passed over, ignored, or suppressed, that portray Bacon as a secret supreme poet and dramatist, writer of comedies and tragedies, under the pseudonym of Shakespeare.  

The Church of England clergymen Dr William Rawley knew the truth and secrets of the concealed and hidden life of whom the world and posterity know as Francis Bacon. On 22 January 1600 the twelve-year-old William Rawley was admitted bible-clerk of Corpus Christi College, Cambridge where he graduated BA in 1605 and MA in 1608 and was made elector tutor on 19 March 1610. He took his holy orders in April 1611 and in December 1612 he was instituted by the university to the rectory of St Michael’s in Bowthorpe, Norfolk. He was soon after introduced to Lord Bacon whose influence resulted in Corpus Christi College bestowing on Rawley the rectory of Landbeach in 1616. By this time Dr Rawley was already chaplain and ‘Amanuensis, or dayly instrument’ to Bacon assisting him, as he tells us, ‘in the composing, of his Works, for many years together; Especially, in his writing Time; I conceived, that no Man, could pretend a better Interest, or Claim, to the ordering of them, after his Death, then my self.’ He lived with Bacon for the last ten years of his known life (1616-26) and was one of his good pens residing at Gorhambury with the poet and dramatist Ben Jonson when the Shakespeare First Folio was working its way through the Jaggard family printing presses.

In the final elegy Bacon’s inward friend, the poet and dramatist Thomas Randolph, one of the sons of Ben Jonson, refers to Bacon as Quirinus, strikingly pointing to the fact that Bacon is our secret supreme poet and dramatist, Shakespeare:

See! how plentiful the flood! I acknowledge these for genuine Muses and their tears. One Helicon will scarce equal them; Parnassus, not covered by Deucalion’s flood, will, wonderful to say, be hidden beneath these waters...When he perceived that the arts were held by no roots, and like seed scattered on the surface of the soil were withering away, he taught the Pegasean arts to grow, as grew the spear of Quirinus [Spear/Spearman; i.e., Shakespeare] swiftly into a laurel tree. Therefore since he has taught the Heliconian goddesses to flourish no lapse of ages shall dim his glory. The ardour of his noble heart could bear no longer that you, divine Minerva [Pallas Athena the Shaker of the Spear who wore a helmet which rendered her invisible], should be despised. His godlike pen restored your wonted honour and as another Apollo [leader of the Nine Muses presiding over the different kinds of poetry and liberal arts] dispelled the clouds that hid you.

                                             Thomas Randolph, Trinity College.

PAPER: https://www.academia.edu/113883645/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

VIDEO:  https://youtu.be/n3UL4MfyAZc

1 MIN TRAILER VIDEO: https://youtu.be/UeIqR-bA6cE

 

 

 

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