Nine Primary Images linking Francis Bacon to the Shakespeare Works

by A. Phoenix.


Paper: https://SirBacon.org/downloads/aphoenix/NINE-PRIMARY-IMAGES.pdf

  1. The second Rosicrucian manifesto the Confessio Fraternitatis (1615) reveals that the actor William Shakspere of Stratford is an Impostor
  2. The Plempii Emblem (1616) Depicting Fortune Standing on a Globe raising up Francis Bacon and pushing down his Literary Mask the actor William Shakspere of Stratford
  3. The frontispiece to Speculum Sophicum Rhodo-Stauroticum (1618) depicting Francis Bacon and his Literary Mask William Shakspere of Stratford
  4. The title page of Gustav Selenus’ extremely rare Cryptomenytices et Cryptographiae Libri IX (1624), depicting Francis Bacon giving his literary mask William Shakspere one of his Shakespeare plays to be performed at the Globe Theatre
  5. The 1645 title page of De Augmentis Scientiarum showing Bacon with his hand controlling his literary mask the actor Shakpere of Stratford
  6. In the address To the Reader prefixed to the 1623 Shakespeare First Folio, Ben Jonson reveals in an anagram that Francis Bacon is Shakespeare
  7. In the verse To the memory of my beloued, The Avthor Mr. William Shakespeare Ben Jonson again reveals in an anagram that Francis Bacon is Shakespeare
  8. The outer cover of the Bacon-Shakespeare Manuscript (known as the Northumberland Manuscript) that originally contained copies of his two Shakespeare plays Richard II and Richard III
  9. The frontispiece of Bacon’s La Saggesse Mysterieuse (1641) depicting Pallas Athena, the Shaker of the Spear from whence he adopted his nom de plume Shakespeare

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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.