by A. Phoenix.
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 Love’s Labour’s 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 Night’s 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.