Secrets of the Shakespeare First Folio
o a fool the ocean is only knee deep. To Shakespearean Scholars the First Folio has a similar depth. Castaways on the barren shores of the Stratford Theory, they don't realize that anyone trying to understand the Plays without the ideas in the works Francis Bacon wrote under his own name is like a bird trying to fly with only one wing. The First Folio has more secrets than a summer night has bugs, but they have yet to pin one to their collector's board. However, where they fail, perhaps I can prevail. J.B.S. Haldane once remarked,
"The Universe is not only queerer than we imagine, it is queerer than we can imagine."
In my opinion, this remark could be paraphrased and used equally well in relation to the First Folio, -Bacon's model of the universe. I will try to demonstrate the truth of my opinion. Warnings against "wading where you see no bottom" be damned, the risk of going beyond my depth is well ransomed if I can drag a few more of these secrets out of their hiding-places into the light.
A major shortcoming of Shakespearean Scholars (other than total lack insight into the true nature of the First Folio) is their total lack of an overall perspective. One of the more important secrets is that the order of the plays in the First Folio is part of an overall design. Modern editors (Stratfordians all, their name is legion, someday to be mud) scramble this order at will, but knowledge of this order provides the basis for further studies, and leads to further secrets in the First Folio. The master metaphor in Bacon's is his idea of the Intellectual Globe. In the Novum Organum He said:
"We neither dedicate nor raise a capitol or pyramid to the pride of
man, but rear a holy temple in his mind, on the model of the universe,
which model therefore we imitate."
Unable to find a foil for his intellect in his own age Bacon had to look back to the most distant antiquity. The above statement is evidence of his obsession with antiquity. The practice of building temples on the model of the world was a hallmark of remote antiquity. A passage from a letter Bacon wrote, in later life, to Isaac Casaubon also gives evidence of his obsession with antiquity:
"Surely I think that no man could ever more truly say of himself with the Psalm than I can, "My soul hath been a stranger in her pilgrimage."So I seem to have my conversation among the ancients more than amongThose with whom I live."
Most secrets in the First Folio relate to this model of the world Bacon was building inside the human mind. No one can really understand the First Folio without realizing it is a miniature model of the earth with many of the features we find associated with the earth. These include the electromagnetic field of the earth; the declivity of the earth's axis; the seasons; and the processes that exist in universal nature. Some secrets anticipate discoveries of modern physics. Some go beyond. For example, Bacon deals with The Arrow of Time, but shows how it can be reversed! He depicts the effect of the tilting of the earth's axis on human beings, as well as effects of influences from the moon, and the constellation of Gemini. He explores Quantum Reality, and secrets of magic known to the ancients. In his "Cogitationes de Natura Rerum" he said:
"The passions of bodies which have sense, and of bodies without sense, have a great correspondence."
And, incredibly, in the passions and interplay of those appealing young people in the First Folio He actually depicts processes in universal nature. The First Folio is Francis Bacon's magic puzzle box. He talks to us constantly with messages composed of the letters at the beginning of the successive lines in the plays (you've got mail!). One of these messages begins on the very first line of the following verse by Ben Jonson on the first page of the First folio:
To the Reader
This Figure, that thou here feefth put,
It was for gentle Shakefpeare cut:
Wherein the Grauer had a ftife
With Nature, to out-doo the life:
O, could he but haue drawne his wit
As well in braffe, as he hath hit
His Face; the Print would then furpaffe
All, that Vvas euer vvrit in braffe.
But, fince he cannot, Reader, looke
Not on his Picture, but his Booke.
Like the verse this hidden message refers to the large picture of William Shakespeare on the page facing this verse. As I far as I know it has never been disclosed before. If you look closely at the left side of the face, the line of the side of the face, and the ear, looks as if the William Shakespeare face is actually a mask over a face behind it. Instead of one face, there are actually TWO faces. With these features in mind, another look at the verse makes the message apparent:
TWO, His Face, But Not on his Picture:To the Reader
This Figure, that thou here feefth put,
It was for gentle Shakefpeare cut:
W Wherein the Grauer had a ftife
With Nature, to out-doo the life:
O, could he but haue drawne his wit
As well in braffe, as he hath hit
His Face; His Face; the Print would then furpaffe
All, that Vvas euer vvrit in braffe.
But But, fince he cannot, Reader, looke
Not on his picture Not on his Picture, but his Booke.
This message raises a question. We are left waiting for the other shoe to drop. If William Shakespeare is only a mask, who is behind the mask? THE PERSON BEHIND THE MASK IS OBVIOUSLY THE AUTHOR OF THE PLAYS. We are not left hanging for long. The question is answered by a sequence of messages that begins seven pages further on with the first page of the first play in the First Folio and reveals the identity of the person behind the mask.
Before I look at this sequence of messages, however, there a parallel to the introductory verse and portrait in the 1623 edition of the works of Shakespeare that should be noted. This is the 1640 Edition of "Poems Written By Wil. Shake-speare, Gent." This book also begins with an introductory "To the Reader" verse that faces a picture of William Shake- speare. It has all the appearance of being a burlesque of the First Folio verse and portrait.
The title page states copies are to be sold by John Benson. John Benson is obviously a scrambled Ben Jonson. The introduction "To the Reader" is signed by I.B. just as Ben Jonson's introductory verse "To the Reader" was signed B.I. Where the Droeshout portrait in the 1623 folio was subtly ridiculous, the corresponding portrait in the 1640 "Poems" was blatantly ridiculous, and underneath were the words:
This Shadow is renowned Shakespear's? Soule of th' age
The applause? Delight? The wonder of the Stage.
What was up with the 1640 book? Obviously someone felt the First Folio clue was not plain enough. It was another case of the old "how do you train a mule?" chestnut. First you gotta hit him on the head with a two by four to get his attention. The 1640 follow up was designed to be the two by four. Unfortunately there was just no accounting for the thickness of the Stratfordian skull. But "Say not the struggle naught availeth." At least the shadow analogy gives a clue that aids in understanding how the Stratfordians got their start. Consider. It is night. A dog barks at a shadow. Before you know it every dog in the neighborhood is barking full tilt. Like dogs affected by the contagion of barking at a shadow so the Stratfordians.
The message sequence begins on the first page of The Tempest. It continues on the next two pages. This message sequence was flagged in many copies of the 1623 First Folio by one of those provocative variants-the first letter in The Tempest. To "B" or not to "B", was certainly the question, because the very first letter in The Tempest was a large, ornate, reversed letter "B" that was a flag for the alert reader. To the unthinking multitude (sometimes known as Stratfordians) this is a printing error. However, to anyone who has acquired a "feel" for the book; for all its secret devices, secret messages, and subtle hints- this large, ornate letter "B" turned backward at the beginning of The Tempest was clearly a device to signal the reader that there was something there that required a closer look.
(The reader would find it very helpful to have a facsimile of the First Folio in order to follow my demonstration in this article, but it is also necessary to beware of facsimiles. I am using the Norton Facsimile. The editors have turned the reversed "B" around. Unless you happened to look at their note at the very back of the volume where the editors are vigorously patting themselves on the back for the work they have done in correcting"printing errors" in the First Folio you wouldn't know this. And who knows how many other secrets they destroyed with their idiot meddling?)
The sequence of messages, to which I refer, begins in close proximity to the reversed"B." A passage near the top of the page has the Latin word FUMAT (it smokes):
Though euery drop of water fweare againft it,
And gape at widft to glut him. A confufed noyfe within.Mercy on vs.
VVe fplit, we fplit, Farewell my wife and children,
Farewell brother: we fplit, we fplit, we fplit.
This passage is on column two of page one immediately above the message: HE IS HOG HANGED that is on column one of page one:
He hath no drowning marke vpon him, his complexion
Is perfect Gallowes: ftand faft good Fate to his han-
Ging, make the rope of his deftiny our cable, for our
Owne doth little aduantage: If he be no borne to bee
Hang'd, our caf is miferable.
HE IS HOG HANGED clearly alludes to the story Francis Bacon told in his APOPHTHEGMS about Sir Nicholas Bacon:
"Sir Nicholas Bacon being appointed a judge for the northern circuit, and having brought his trials that came before him to such a pass, as the passing of sentence on malefactors, he was by one of the malefactors mightily importuned for to save his life; which, when nothing that he had said did avail, he at length desired his mercy on account of kindred.`Prithee,' said my lord judge, `how came that in?' `Why, if it please you, my lord, yourname is Bacon, and mine is Hog, and in all ages Hog and Bacon have been so near kindred, that they are not to be separated.' `Ay, but,' replied judge Bacon, `you and I cannot be kindred, except you be hanged; for Hog is not Bacon until it be well hanged.'"
This is a hint, a subtle allusion to Francis Bacon. IT SMOKES .
Years ago I was reading a book in the Library of Congress. In this book the author pointed out that in the following passage there was a word that meant IT FLAMES composed of the beginning letters of the lines:
I boorded the Kings fhip: now on the Beake,
Now in the Wafte, the Decke, in euery Cabyn,
I flam'd amazement, fometime I'd diuide
And burne in many places; on the Top-maft,
The Yards and Bore-fpritt, would I flame diftinctly,
Then meete, and ioyne. Ioues Lightning, the precurfers
O'th dreadfull Thunder-claps more momentarie
And fight out running were not: the fire, and cracks
Of fulphurous roaring, the moft mighty Neptune
Seeme to befiege, and make this bold waues tremble,
Yea, his dread Trident fhake.
I did not pay much attention to the message at the time, but later I wished I had made a record of it because I found it was part of the sequence of margin messages starting at the beginning of The Tempest. The First Folio opens with page two opposite page three, and the "IT FLAMES" message is on page three about a quarter of the way down from the top.
A little further down on page two, immediately below the position of the "IT FLAMES" message on page three there is the name F BACON. This is part of the message: SIT THE DIAL AT NBW, F BACON, TOBEY (see "The Secret of The Shakespeare Plays", and "The Authorship Question and Beyond"). IT FLAMES.
In the 1632 edition of the Shakespeare plays, the intent to signal some secret with the letter "B" at the beginning of The Tempest was as obvious as the neck on a giraffe. The "B" in the first letter of The Tempest was now drawn with a little man behind the "B."
The little man was holding up a lamp in each hand. From each lamp a wisp of smoke ascended. Each wisp of smoke ended in the shape of a question mark. There can be no doubt that these two question marks in smoke referred to the "it smokes" and "it flames" messages that are spelled out at the beginning of the lines in the respective passages in The Tempest. These in turn point to the SIT THE DIAL AT NBW, F BACON, TOBEY message. I have already pointed this message out in my previous writings in which I proved that Francis Bacon was the author of the plays (a small step for a man, a giant yawn for mankind?).
If one wished to quibble one could say that if this pointed to anything it pointed to a joint authorship of the Plays by Francis Bacon and Tobie Mathew. However, this quibble not only flutters but is completely blown out by the other evidence of Bacon's authorship in The Tempest. The play allegorizes Bacon's discovery device, and, in addition, allegorizes in intricate detail the divisions of learning set forth by Francis Bacon in His "Advancement of Learning" and his "De Augmentis." Although the odds against the message being chance can be computed and gives a verification of astronomical proportions the divisions of learning while not admitting of mathematical calculation is an even greater verification. This is covered in my "The Secret of the Shakespeare Plays" at https://sirbacon.org /Matherpage.htm.These two features demonstrate that the entire scheme of the play is Bacon's and that The Tempest must be attributed to Francis Bacon.
If Mathew was not involved in the authorship why was his name there along with Bacon's? Apparently Bacon put Mathew's name along with his as a favor to Mathew. Bacon had used his influence to obtain permission for Mathew to return to England for a short time near the end of 1622, and the beginning of 1623. Mathew was with Bacon during that time, precisely the time that preparation of the First Folio for the printer was underway. Then Mathew left on his travels again and shortly afterwards sent Bacon the following letter:
To the Lord Viscount St. Albans.
Most honoured Lord:
I have received your great and noble token and favour of the 9th of April, and can but return the humblest of my thanks for your Lordships's Vouchsafing so to visit this poorest and unworthiest of your servants. It doth me good at heart, that, although I be not where I was in place, Yet I am in the fortune of your Lordship's favour, if I may call that Fortune, which I observe to be so unchangeable. I pray hard that it May once come in my power to serve you for it; and who can tell, But that, as fortis imaginatio generat causam, so strange desires may Do as much? Sure I am, that mine are ever waiting on your Lordship; And wishing as much happiness as is due to your incomparable virtue, I humbly do your Lordship reverence.
Your Lordship's most obliged and humble servant
P.S. The most prodigious wit, that ever I knew of my nation, and of this Side of the sea, is of your Lordship's name though he be known By another.
There can be no doubt the postscript in this letter referred to Bacon's secret authorship of the Shakespeare Plays. Stratfordians from time to time have tried to counter its obvious implication. But their reasoning has seldom risen even to the level of the reasoning of the individual who concluded that the chicken came before the egg because it is hard to imagine God wanting to sit on an egg. The Stratfordians will remain in denial until that last moment when the inevitability of history lights up their brain with the same revelatory immediacy as the headlights on a car light up the brain of a bug. And the last thing to go through their brain will also be the adjective that best describes them. The most plausible inference is that the "great and noble token" was the inclusion of Mathew's name along with Bacon's in the margin of The Tempest.
(After my essays were posted on the sirbacon.org site, a high school girl wrote me. She began her email with, "I'm not one of those crazy Stratfordians." This made me stop to think. Had I given the wrong impression? I thought I had engaged in a little good-natured ribbing. Maybe I had been too hard on the Stratfordians? After all, they had made valuable contributions to the study of the Plays. Off hand I can't remember just what, but there must be something. So in the interests of justice I will present the facts and let the readers judge for themselves.)
What better example than the above letter? H.N. Gibson, M.A., Ph.D., Stratfordian to the core, wrote a book titled, "The Shakespeare Claimants." Gibson begins by proclaiming his impartiality in the issue, and adds it was only after a detailed examination of the theories that he discovered how really weak and unconvincing they were. The first thing he tells us in his, "Case for Francis Bacon" chapter is that "leading authorities, almost without exception, reject the theory of Bacon's authorship." So much for impartiality.
This is the stratagem known in legal parlance as, "poisoning the well." When he comes to the above letter evidently Gibson senses his own inadequacy. So he trots out one of the big guns of the Stratfordians to refute its implication. None other than Charlotte Stopes. Gibson says Mrs. Stopes had countered the point about the Mathew's letter most effectively as far back as 1888. What was Mrs. Stopes counter? She pointed out in her "Bacon-Shakspere Question Answered" that Sir Tobie Mathew wrote his letter from abroad, and added that, at this time Bacon's brother, Anthony, was also abroad on secret service work, traveling under an assumed name. Gibson says this is more than adequate to explain Mathew's remark. Mathew was referring to Anthony Bacon. Issue settled. Right? Not!!!
The letter in question WAS undated, giving the Stratfordians a little elbowroom for their shifty maneuvering. However it was addressed to the Lord Viscount, St. Albans. Bacon was invested with this title at the end of January of 1621. Anthony was buried on May 17, 1601. Who knows what goes on in the minds of "those crazy Stratfordians"? I submit, however, that what Gibson proved, instead of how weak the Baconian case is, was how weak his own mind is. The dealings of the Stratfordians with the Mathew letter are typical of their underhanded, and uninformed practices. I don't believe for a moment that Stopes was unaware of the problem with her explanation of the letter. She was an expert on the Elizabethan period. That is why her colleagues came to her. They pressured her to smite those pesky Baconians hip and thigh. Her predicament was like that of the dying Pancho Villa, who, under pressure to utter some memorable last words, said with his dying breath, "Don't let it end like this. Tell them I said something." So Charlotte (she Stopes to concur) concocted the lie about the letter. And Gibson and the other Stratfordians totally innocent of any knowledge, with their heads stuck. Well never mind where their heads were stuck. The point is they accepted the tale at face value, and have enshrined it in their canon as an anathema to be used against the Baconians ever since.
(On second thought, I have changed my mind. I was not too hard on the Stratfordians. In fact, I am moved to paraphrase Mark Twain. In the first place, God made idiots. That was for practice. Then he made Stratfordians.)
If one wanted to quibble some more one could say the evidence in The Tempest does not necessarily prove that Bacon wrote any play other than The Tempest. In an effort to cut this quibble off at the pass I examined 15 plays in my essays and provided evidence that they incorporate the Janus Design. The remaining plays have similar evidence of this design. Therefore, Bacon wrote all of the Plays.
(as seen in the beginning of the Shakespeare First Folio this "W" begins the name of William Shakespeare on the list of the names of the principal actors . There is a Janus Head in the "W" with the faces looking in the opposite directions of the past, and the future.)
What is the Janus Design? Simply this: Each play has two faces. One face looks toward the past, the other toward the future. One face looks at the course and progress of the ancients in some particular aspect of knowledge. The other, looking toward the future contrasts Bacon's method with theirs and shows that his is better by using his discovery device to inquire into the form of a related aspect of knowledge. This design is certainly the work of Francis Bacon, for he describes and states his intent to use it in his "Masculine Birth of Time":
"Nevertheless it is important to understand how the present is like a seer with two faces, one looking toward the future, and the other toward the past. Accordingly I have decided to prepare for your instruction tables of both ages, containing not only the past course and progress of science, but also anticipations of things to come."
This design also throws light on a number of obscure statements made by Bacon. Consider, for example, the following in the preface to his Novum Organum:
"For if I profess that I, going the same road as the ancients, have something better to produce, there must needs have been some comparison of rivalry between us (not to be avoided by any art of words) in respect of excellency or ability of wit, and though in this there would be nothing unlawful or new (for if there be anything misapprehended by them, or falsely laid down, why may not I, using a liberty common to all, take exception to it?) yet the contest, however just and allowable, would have been an unequal one perhaps in respect of the measure of my own power."
Bacon was adept at seeming to say one thing while actually saying just the opposite. The contest between Bacon and the ancients was an unequal one because his intellect was so vastly superior to theirs. Here is another of those obscure statements that is illuminated by the Janus Design. It appeared in the Advancement of Learning:
"To me it seemeth best to keep way,
With Antiquity usque ad aras [even to the altars]"
What was he referring to if he was not referring to the Janus design? This statement has a little extra bonus for the Baconian sweet tooth. As W.F.C. Wigston so ably pointed out, it was around the altars of the Greek gods that drama had its origin. Therefore the statement is a veiled allusion to Bacon's masked profession as a dramatist. But the burning question that easily out blazes a three-alarm fire is why is the Janus Design in the plays? Why are they designed with this feature? The answer is in Bacon's Novum Organum where He says:
"I am building in the human understanding a true model of the world."
The Old World of the past and the New World of the future reflect a major feature of the world of His time: the Old World around the Mediterranean, and the New World (America), that had been discovered far west of the Pillars of Hercules. Hence the two faces. Moreover, a true model of the planet would reflect the annual cycle, and Janus, who begins the year, holds the number of the days of the year in his hand, and looks both to the past and the future, does just this. The Janus Design is part of the design of his Intellectual Globe that I described in "The Secret of the Shakespeare Plays." This design is just one of the secrets in the plays.
(For Baconians who have been bugged by Stratfordians compassion prompts me to note that Stratfordians are more deserving of pity than blame since they have in common with bugs that they are missing an important organ we Baconians take for granted. Strictly speaking bugs do not have a heart. They have a dorsal vessel that is roughly analogous to a heart, but is not capable of performing the functions of a real heart. Strictly speaking Stratfordians do not have a brain. They have a cranial vessel that is roughly analogous to a brain, but is not capable of performing the functions of a true brain. And what can I say of the Oxfordians? Well hey, it's better to have half a brain than no brain at all!)
At the beginning of this article I mentioned the secret order of the plays in the First Folio. This is demonstrated firstly by a close examination of the catalogue of plays in the First Folio, and secondly by a study of these plays in connection with the catalogue. The catalogue of plays in the First Folio appears following the intervention of a few dedications, seven pages after the verse by Ben Jonson. There is one very important secret in the intervening pages, but I will return to it later. This is the big one. Ladies and gentlemen and CHILDREN OF ALL AGES!!! For your instruction and entertainment I present The Catalogue of plays in the First Folio!
14 Comedies, 10 Histories, and 11 Tragedies : 35 plays. Nothing there, right? Look again. I have already alluded to the fact that Bacon was engaged in constructing a miniature replica of the earth. The catalogue has allusions to all kinds of information relating to this design. The catalogue functions like an interactive template in relation to the plays. It has a simple, but very ingenious and amazingly effective design. Most of its effect is achieved through carefully crafted variants. Look at the catalogue again. Instead of ten Histories it is equally valid to say there are seven. King Henry IVth, and King Henry VIth are listed as having more than one part. A count tallying one for the plays with more than one part is as valid as a count that tallies each part. Instead of two plays for King Henry IVth; and three for King Henry VIth they can be counted as one each.
This is the first variant: there are 35 plays listed in the catalogue, but it is equally valid to say there are 32.
A close examination of the First Folio
demonstrates 32 results from a special contrivance. It results
because one play in the First Folio was omitted from the catalogue.
This play was Troilus and Cressida. It should have been listed as the
first Tragedy in the catalogue immediately before the Tragedy of
Coriolanus. So here is another variant. Instead of the 35 plays
listed in the catalogue, there should be 36, and an equally valid
count is 33.
These variants go on and on. They are paralleled by variants throughout the First Folio. The First Folio was in print for two years. 1200 copies were printed. Among these exist some very curious variants in the text. Orthodox scholars attribute these to printing errors. Baconians from time to time have pointed to specific patterns of page numbering and other variants as indicating an intentional purpose to convey certain specific information. It has usually been the lot of the Baconian who has pointed this out to reap ridicule from orthodox scholars. Bright man's burden?
There are two separate and diametrically opposed viewpoints concerning the Troilus and Cressida anomaly in the First Folio. The first is that of orthodox scholars. These are those fine gentlemen who have done such an outstanding job in determining that no authorship question exists in connection with the Shakespeare Plays, and who are now well on their way to their signal achievement of proving that the faces on Mt. Rushmore resulted from erosion. Their take on the situation is that something (probably having to do with the ownership of the copyright to Troilus and Cressida) caused the cancellation of the printing of the play, and ergo the anomaly in the First Folio. Sam Schoenbaum "Shakespeares Lives " (what makes Sammy run on?) assures us that it was due to a delay in its inclusion in the First Folio that Troilus and Cressida was omitted from the catalogue.
The opposing viewpoint is the anomalies are not what they appear on the surface. Francis Bacon was very much involved in the printing of the First Folio. The anomalies are devices used by Bacon. He spoke of
"publishing in a manner whereby it shall not be to the capacity nor taste of all, but shall as it were single and adopt his reader." (Valerius Terminus).
He would conceal information he wanted to conceal, from second rate minds like the Stratfordians, yet reveal information he wanted to reveal to more perceptive readers of His works. (Moi???) Since I already know Bacon was the author of the plays, I know the opposing viewpoint is the correct viewpoint. This predicates a reason both for including and for excluding Troilus and Cressida. The Troilus and Cressida variant is by no means the only variant. There are numerous others. Many are not immediately evident. Apparently almost all are significant. I will go into the subject of these variants in more detail later, but for the present, as a Preview of Coming Attractions, here is an itemization of most of the variants in the catalogue:
36 (all plays including Troilus and Cressida and counting all parts of the plays)
35 (all plays and parts excluding Troilus and Cressida)
33 (all plays excluding two indented plays)
32 (all plays excluding Troilus and Cressida and counting plays with more than one part as one).
31 (same as above excluding The Tempest)
30 (same as 32 above less the two indented plays)
29 (same as above less The Tempest)
28 (same as above less The Winter's Tale that is linked to The Tempest)
24 (Number of Comedies plus Tragedies less the two indented plays)
14 (Total number of Comedies)
13 (Number of Comedies less The Tempest)
12 (Number of Comedies less the two indented plays)
12 (number of Tragedies plus Troilus and Cressida)
What jumps out at you, in addition to the 32, related to the directions of the compass that Bacon utilizes for the design of his Intellectual Compass in the plays, is the apparent association of many of these numbers with time periods. There is the 24-hour diurnal period. The 12 hours of day, and the 12 hours of night. There is the 14-day half-cycle of the moon used in such mythologies as the story of Isis and Osiris. There is the 28-day period from full moon to full moon, and the 29-day period required for the moon to circle the earth. There are the 30 and 31-day periods of the month, and the 12 month period of the year. There is the 13 lunar month period of the year.
One needs to enter the mindset of Bacon. What features would you want to include if you were constructing a metaphoric model of the earth? Obvious candidates for inclusion would be the 32 compass directions that comprise all directions on the face of the great globe, the earth, and relate to Bacon's metaphoric sailing voyage of discovery on his Intellectual Globe. Others would include the diurnal cycle with the 12 hours of night, and the 12 hours of day, and the 24-hour total cycle. Then there are the two periods associated with the cycle of the moon, 28 and 29 days. You could include the 30 or 31 days of the month. You could include the 12 solar months of the year and the 13 lunar months.
The inclusion of Troilus and Cressida results in 33 plays (or 36 depending upon whether you count the separate parts of the plays). Both numbers are significant. Using letters for numbers, Bacon's name is represented by 33:
B A C O N
2 +1 +3+14+13 = 33
There are allusions to the number 33 written all over the face of that curious phenomenon known as The Elizabethan Literary Renaissance, and they point to the hidden hand of Francis Bacon. One of the most conspicuous is in the First Part of King Henry the Fourth. The word "Francis" appears 33 times upon one page. In his master work, "The Secret Teachings of All Ages", Manly Palmer Hall referred to "cryptographic statements on page 33 of various contemporary writings" all pointing to Bacon.
So! There are 12 Tragedies with the inclusion of Troilus and Cressida. Is this a coincidence? Not on your tintype! The catalogue is contrived so it indicates a matching set of 12 Comedies. Anyone with access to a facsimile of the First Folio will note the "T" that begins the word "The" in "The Tempest" in the catalogue. It is a large ornamented letter that extends all the way down to the second line of the catalogue. This causes the titles of the initial two plays to be indented as I have shown them in the example above. Although 14 Comedies are listed, only 12 are listed non-indented as all the other plays are listed. This subtle little device gives a matching number of 12 Comedies to the 12 Tragedies that should be listed in the catalogue.
The exclusion of Troilus and Cressida results in 32 plays. This is a significant number also. A compass has 32 directions. The message at the beginning of The Tempest incorporates the compass direction of NBW, and the play has further divisions denoting tables comprised of 32 speeches. Also there are various references to the number 32 and to a compass throughout the plays. Therefore the number 32 in the catalogue is a very significant number.
This association of 24 and 32 is quite significant in Bacon's system of thought. One remembers that in "De Augmentis" Bacon's description of his biliteral cipher involved the numbers 24 and 32. Also in Experiment 846 of the Sylva Sylvarum the listing has 24 incorporated within 32 (See The Authorship Question and Beyond https://sirbacon.org /mather.htm ) and both sets of numbers are made up of two sets of opposites. The list of 24 is made up of 12 and 12, and the list of 32 is made up of 16 and 16. Since the 24 plays are composed of Comedies and Tragedies they make up two sets of 12. That is, there are 12 Comedies and 12 Tragedies.
These numbers result from the symbolism of Bacon's Intellectual Globe. Since Bacon's Intellectual Globe is a reflection of the earth, 24 and 32 reflect something that exists in that globe. 24 obviously reflects the 24 hour diurnal cycle, and perhaps the 24 sidereal hour annual cycle. 32 reflects the 32 compass directions. Both sets of cycles have a basic polarity. The diurnal has day and night. The annual cycle has summer and winter. Behind the arbitrary 32 compass directions is the global magnetic force with its positive and negative polarity. I will show the deeper import of the two a little further on after I have developed some additional information.
Another feature should be noted in connection with the division of the plays. Each play in the First Folio begins with an ornamental heading. For the most part three ornamental headings are used in the First Folio to begin the various plays. With the sole exception of The Tempest each play in the First Folio begins with one of these three ornamental headings. For the sake of distinction I will describe these headings as follows:
1. Two flowers up
3. Open flower one side, closed flower other side
The Tempest on the other hand begins with the Hunt of Pan emblem. The Tempest is singled out from the other plays by this fact. A careful reading of The Tempest shows it is also singled out because it contains within it, in allegorical form, ALL of the divisions of learning given by Bacon in his Advancement (See my Secret of The Shakespeare Plays). Since The Tempest also allegorizes the greater mysteries at Eleusis, its position in the annual cycle is at the autumnal equinox. The Winter's Tale deals with the official myth of Eleusis, and with the Lesser Mysteries at Eleusis, therefore this play contain the date of the vernal equinox. This means the symbolism in the Plays locks The Winter's Tale into a hidden pairing with The Tempest since both contain an equinoctial date.
Taking the two indented plays as a sign that they should be omitted from the matching pairs of 12 comedies and 12 tragedies, the listing of these Plays would be indicated as follows.
The Tempest (Autumnal Equinox)
1. The Merry Wives of Windsor
13. The Tragedy of Troylus and Cressida
2. Measure for Measure
14. The Tragedy of Coriolanus
3. The Comedy of Errors
15. Titus Andronicus
4. Much Ado about Nothing
16. Romeo and Juliet
5. Loves Labor Lost
17. Timon of Athens
6. Midsummer Nights Dream
18. The Life and Death of Julius Caesar
7. The Merchant of Venice
19. The Tragedy of Macbeth
8. As you Like it
20. The Tragedy of Hamlet
9. The Taming of the Shrew
21. King Lear
10. All is Well that Ends Well
22. Othello, the Moor of Venice
11. Twelfth-Night or what you will
23. Anthony and Cleopatra
12. The Winter's Tale
24. Cymbeline King of Britain
Assuming the omission of Troilus and Cressida was merely a device to avoid making the secret intent in the catalogue too obvious, and that the actual omission would be indicated by the ornamental heading in The Tempest that differs from those in the other plays, The Tempest would be omitted, and the 32 plays would be listed as follows:
1. The Two Gentlemen of Verona
17. The Life of King Henry Fifth
2. The Merry Wives of Windsor
18. King Henry the Sixth
3. Measure for Measure
19. The Life & Death of Richard the Third
4. The Comedy of Errors
20. The Life of King Henry the Eighth
5. Much ado about Nothing
21. The Tragedy of Troilus and Cressida
6. Loves Labor Lost
22. The Tragedy of Coriolanus
7. Midsummer Night's Dream
23. Titus Andronicus
8. The Merchant of Venice
24. Romeo and Juliet
9. As you Like it
25. Timon of Athens
10. The Taming of the Shrew
26. The Life and death of Julius Caesar
11. All is well, that Ends well
27. The Tragedy of Macbeth
12. Twelfth-Night, or what you will
28. The Tragedy of Hamlet
13. The Winters Tale 29. King Lear
29. King Lear
14. The Life and death of King John
30. Othello, the Moor of Venice
15. Life & death of Richard the 2nd
31. Anthony and Cleopatra
16. King Henry IVth
32. Cymbeline King of Britain
This is where a facsimile of the First Folio would really serve yeoman service for the Reader. If you looked at the First Folio it would be obvious that it was designed for the break at King Henry the Fifth. On the page before the page that has the catalogue of plays in the First Folio there is a page with some lines by Hugh Holland. At the top of this page is the light "A", dark "A" headpiece. This particular "double A emblem" has a naked infant, or boy, reclining on each of the A's, with each holding in his sinister hand a cord connecting him with the Garbe or Wheatsheaf that is in the center of the device between the two infants. This is surrounded by growing vines in which are nestled a squirrel on the left side, a rabbit on the right side, and at the bottom on the left side is what appears to be a griffin, while at the bottom on the right side is what appears to be a goat.
On the next page, the page on which the catalogue is listed, the headpiece that I call "The Hunt of Pan" is at the top of the page. This has the seated figure with shaggy legs (Pan, or universal nature) holding up in each hand just a little higher than his head, a peacock, while underneath this figure are bunches of grapes. And on each side are growing vines with a two flowers on each side, one open out toward the reader, and the other open straight up. Perching on the top of the vines on each side is a rabbit and at the bottom on each side is a hunting hound, sniffing the ground and facing inward toward the center of the design. There is a hunter near the top of each side with his bow drawn with the arrows pointing toward the center of the design. The catalogue is listed below the headpiece.
The plays, with the exception of The Tempest, have one of the three ornamental headers until the play of King Henry Fifth. This has all the signs of being designed to be a natural break at the midway point of the First Folio. There is the "double A" emblem and the Hunt of Pan emblem, but now they are reversed with the Hunt of Pan emblem shown first and the "double A" shown second. Also the beginning of the King Henry Fifth play has the open flower one side, closed flower one side, ornamental header, but now the header is inverted. The open flower side is on the RIGHT instead of on the left as it is in the first half of the First Folio. (A close examination of the second half of the plays shows that many [but not all] of the ornamental headpieces are reversed. I have not examined an original copy of the First Folio. I have only examined my Norton Facsimile. I have a paranoid suspicion that the editors of the Norton Facsimile may have tampered with the ornamental headpieces in the second half of the First Folio. Again maybe they didn't.
But even if they didn't that doesn't mean I shouldn't beware of the dangers of their delusions of adequacy. The Tempest is distinguished from the other plays because it begins with the "Hunt of Pan" headpiece. The Winter's Tale is paired with The Tempest, because both the allegory is both deals with the Eleusenian mysteries, and both take place at the equinoxes.This gives additional emphasis to a peculiar fact. BOTH ARE DESIGNED TO REFLECT IN MINIATURE THE OVERALL DESIGN OF THE FIRST FOLIO WITH ITS MATCHING PAIRS OF 12, AND 16.
A careful examination of The Tempest shows it is
designed with the incorporation of two 12s. As I pointed out in "The
Secret of The Shakespeare Plays", the play takes place on the equinox
and ends at six in the afternoon. Six o'clock on the equinox is the
dividing point between day and night. The play's ending placed at
this point marks the end of a 24 hour period made up of the 12 hours
of night, and the 12 hours (just ended) of day.
That is, the end of the play is positioned to shadow forth a scheme of 24 contraries with two pairs of 12. This is not all, for the position on the equinox also shadows forth another such scheme. The sun has just completed 12 sidereal hours under the equator followed by 12 sidereal hours above the equator. That is, what had just been completed was the night of organic life on earth, followed by the day of organic life on earth. Now the sun is once again positioned on the equator at the point between the day and night of organic life on earth. Furthermore, the end of the play marks the end of a 24year period.
For the first 12 years of this period Sycorax and her son Caliban (Mistress, and thing of darkness) had ruled the island. For the next 12 Prospero (the figure of knowledge and light) had ruled the island. So we can say that The Tempest replicates in miniature the dual division of the 24 plays of the Comedies and Tragedies.
The "Winter's Tale", on the other hand, does the same thing for the dual division of the 32 plays. The play is divided into two almost equal parts. In the middle of the play the speech of Time, that slender thread that connects the two parts of the play, tells us that 16 years have passed since the events which occurred in the first part of the play. This 16 years applies to both halves of the play. Logic tells us this, but Bacon also tells us this through his device of having time say, "I turn my glass" implying that the two halves of the play are analogous to the two halves of an hourglass. When one realizes that the period of 16 years applies to both halves of the play, one also realizes that with two periods of 16 what we have here again is Bacon's Intellectual Compass with the 32 directions.
Obviously the 32 plays should be arranged around a circle like the 32 directions of a compass. The circle then represents the globe of the earth with the top of the circle representing North and the bottom South. The left side then is West and the right side East. This produces a very interesting feature. There is a displacement at the top just as there is a displacement at the top of the earth due to the tilt of its axis in relation to the plane of its' orbit. In my essay on Hamlet, I have shown that Hamlet is based upon the ancient body of myths that conceals information about the tilt of the earth's axis.
Apparently the Catalogue is also designed to give this information about the tilt. The displacement factor is in the Histories. There are 2 histories on one side, and 5 on the other. So the displacement factor is 3/32nds. If this is applied to the total count of the Comedies and Tragedies (26) a figure of 2.44 is derived. If this is then used to reduce the 26, a figure of 23.56 is derived. This is very close to the actual displacement of the planet in Bacon's time, especially since it has decreased by approximately .05 degrees over the past 400 years. The earth is presently tilted at an angle of approximately 23.50 degrees to the perpendicular of the plane of the ecliptic.
(The earth wobbles like a spinning top and its tilt (which is decreasing) changes from a maximum of 25 degrees to a minimum of 22 degrees over a vast period of time. Some say from 24.5 to 21.5. The Serbian astronomer Milutin Milankovitch calculated the slow changes in the earth's tilt by careful measurements of the position of the stars, and through equations using the gravitational pull of other planets and stars. He thought the total cycle of variation in the degree of was around 41,000 years. Others have thought the cycle is 23,000 years. I have used a period of 24,000 years to calculate the .05 degrees because this cycle was known in both ancient Persia and India, and internal evidence indicates it is the cycle Bacon used.)
An interesting aspect of the Troilus and Cressida anomaly is it seems to indicate a purpose to both include and exclude the play. The 26 plays are reduced by the 2 indentedm plays giving 23 or 24 depending on the inclusion or the exclusion of Troilus and Cressida. The reason for this may have been connected with both the displacement factor and the range of the sun north and south of the equator. Was this intended to indicate the presence of a number somewhere between the values of these two numbers that could apply to the tilt of the earth's axis AND to the north/south range of the sun in relation to the equator?
This does not exhaust the information concealed in the catalogue by any means. The total count including the separate parts of the plays is 36. Arranged around a circle like the directions of a compass, this number would be completed at due north, and is immediately followed by a 5, giving the number 365. Add to this the 2 count of the Histories on one side and the 5 on the other (25) and you have 365.25 the more precise length of the year. Include all of the Comedies with the exception of The Tempest which is segregated due to its different ornamental header and you have the 13 months of the lunar calendar.
The line going across at 8 and 24 would represent the equator. The play of Romeo and Juliet (which symbolizes the Sun and the Moon) is located at 24, i.e. due east. Bear in mind that the Sun is always near the equator. It is on the equator at the equinoxes and ranges a few degrees above or below during the interim periods. The scene where Romeo first sees Juliet takes place at night (as well as major scenes afterwards). At this point the moon is symbolized in the play as being a full moon (see my Essay on Romeo and Juliet). At full moon the sun is on the opposite side of the earth from the moon.
Therefore the sun is in the West near 8, whereas Juliet symbolizing the moon is located in the East at 24. Thus Bacon provides his Intellectual Globe with the important feature of the sun and the moon, both in their proper locations in relation to the globe and to each other.
The moon is symbolized in Romeo and Juliet (again, see my Essay on the play) as being located in Leo. This is approximately in the right relative position to Cymbeline, which symbolizes Castor and Pollux and, therefore, Gemini. But one must bear in mind that the symbolism is in two parts and serves double duty. Gemini is, of course, not located at the South Pole. The sun never ranges further than 23.27 degrees either north or south of the equator, and the zodiac is an imaginary belt in the heavens extending for about eightdegrees on either side of the apparent path of the sun.
Bacon has been careful to ensure that the symbolization in His plays contains allusions to features of the zodiac, such a Leo, Gemini, Virgo (Isabel the virgin whose name means wed to God is obviously Virgo) and to the features of the celestial landscape around the belt of the zodiac. So the belt of the zodiac is built within the symbolism. But it is, ofcourse, within and apart from the symbolism relating to the 32 directions of the compass.Furthermore, in order to understand how it fits into the design there is the problem of the two sets of 12 since the zodiac has only one set. In addition, in the Comedies there is the extra play of "The Two Gentlemen of Verona" that symbolizes the lunar month, and must be dealt with.
It is apparent the extra set of 12 (the Tragedies) functions as a double of the set of 12 in the Comedies. No one would deny that Comedies and Tragedies are opposites. But symbolically there is another distinguishing feature. Comedies are light and Tragedies are dark. The Tragedies have the same relation to the Comedies as a shadow to the object that casts the shadow, and therefore they contain the implication both of night and of invisibility. I will show the reason for this design momentarily, and also that the major dates of the annual cycles (except for the two that deal with the supernatural) are contained in the set of 12 associated with the Comedies. But, for now, let me note that in order to reconcile these two sets of 12 a special effort of visualization is required. If you want to get creative you can make one of those "show and tell" things. On the other hand, if you are unable to visualize and too lazy to construct a "show and tell" you can just wing it (like me) and hope you get it right.
Valentine and Proteus in The Two Gentlemen of Verona symbolize Gemini. Guiderius and Arviragus in Cymbeline also symbolize Gemini. Imagine the designation for the respective plays (in the Comedies and Tragedies) as listed on a belt of paper, each designation utilizing an equal segment of the belt. Since The Two Gentlemen of Verona and Cymbeline both represent Gemini, the paper belt should be joined at the end with the two overlapping. Now the paper belt should be pressed flat together and bent again into a circle so that the two ends join. There you have your zodiac, and it should be visualized as extending across the diagram of the earth made by the 32 plays so that the play of Romeo and Juliet is in its proper place in the east at 8.
In addition to symbolism associated with
various features of the annual cycle, Bacon also symbolized the
entire cycle of the soul in the plays. According to Edgar Cayce, the
famous American Seer, just as the soul made a contact with the
material world in the beginning of its cycle of incarnations so this
contact must be broken, and the end of the cycle joins the beginning
of the cycle. This is symbolized by the two plays that deal with
Gemini, one located at the beginning and the other at the ending of
the compass circle so that the two join.
Cymbeline has a scene where Jupiter descends in thunder and lightning, sitting on an eagle. There can be no doubt this represents the Constellation of Aquila. Among the Romans this constellation was associated with the eagle and with Jupiter. On June 21, the summer solstice (also the sign of Gemini) if you look straight overhead at the zenith which is the midpoint between the horizon you will see Aquila near the zenith. As usual in the plays, the author is correct when He has Jupiter, sitting on the eagle, descend from overhead. You will not be able to see the constellation Gemini because it is directly behind where you would be standing. (I might note also that the signs are imaginary, and, due to the precession of the equinoxes, have been displaced about 30 degrees from their corresponding constellations). On the fall equinox at September 23, you can see the constellation of Gemini in relation to Aquila. Imagine the circle of the heavens as the face of a giant clock. Gemini is located at the edge of one horizon, approximately where the 10 on the clock face would be located, and Sagittarius is directly across the heavens at the edge of the opposite horizon approximately where 4 on the clock face would be located. Aquila is near Sagittarius, a little further in from the horizon toward Gemini, slightly above the imaginary line from Gemini to Sagittarius.
Symbolically the descent of Aquila (Jupiter sitting on the Eagle) represents a foldingtogether of the heavens so that Sagittarius is folded over onto Gemini. The symbolism apparently being that at the completion of the cycle of the soul the two sets of opposing polarities, or centers in the soul, are unified so that instead of 12 they become 6. The Tibetan book of Alice Ann Bailey, "Esoteric Astrology" says:
"It should be remembered that-from the angle of the final development of the twelve zodiacal potencies-the twelve opposites must become the blended six, and this is brought about by the fusion in consciousness of the polar opposites."
The 12 Tragedies are the invisible double in subtle matter of the visible zodiac that is symbolized in the Comedies. In order to understand the symbolism behind this, it is necessary to examine the invisible constitution of man, the microcosm. It is also necessary to garner a little more data about the doctrine of microcosms. To simplify the subject man can be viewed as possessing three bodies. The first is the physical body.
The next body exists only in subtle matter, and is known by the Hindus as the Pranamayakosha, or the vehicle of Prana. The theosophists called this body the etheric double. It is invisible to the vision of the ordinary person, but psychics have described it as a pale violet-gray or blue gray shadow, faintly luminous, permeating and extending only about a quarter of an inch beyond the physical body. Viewed by itself without the physical body, the etheric double would resemble a pale shadow of the physical body.
This body absorbs prana or the life energy and distributes it to the physical body, and also acts as a bridge between the physical and the third body (also invisible to ordinary vision). The third body was called the astral (i.e., "star body") by the Theosophists, but is actually that subtle body that in popular knowledge is known as the soul. For the sake of the present discussion, I will use the latter term. This body permeates the physical body, and extends around the physical body of the average person to a distance of about 18 inches. The earth (the macrocosm to the microcosm that is the human being) is surrounded by two fields that correspond to the two fields surrounding the human body.
For the first field, it may be noted that the earth is a negatively charged electrical conductor with the intensity of the electric field falling from 100 volts per meter at ground level to become almost negligible at a distance of around 4 miles from the surface of the earth. The earth is also surrounded by a magnetic field that extends far beyond the electric field surrounding the earth. These two correspond to the etheric and soul bodies of man.
According to Gurdjieff (as quoted in Ouspensky's book, "In Search of the Miraculous") real knowledge begins with the teaching of the cosmoses. We have inherited the idea of the macrocosm and microcosm from ancient systems, but this is incomplete because it is only a fragment split off from the real ancient teaching. The full teaching deals with not two but seven cosmoses included one within another. The seven taken together, in their relation to one another, give a complete picture of the universe. But the laws in each cosmos are determined by the two adjoining cosmoses. That is, by the cosmos above and the one below. Therefore, it is only three cosmoses located adjacent to one another that give a complete picture of the manifestation of the laws of the universe.
In his symbolization in the First Folio Bacon depicts two sets of three cosmoses. Under the 32 umbrella he depicts:
1. The Earth
2. The plays as a whole
3. The Winter's Tale
Under the 24 umbrella he depicts:
1. The Earth
2. The Comedies plus the Tragedies
3. The Tempest
What is He doing? Why the dual set of cosmoses? He depicts the soul body in the first set and the etheric double in the second set. In order to understand this we must investigate the difference between the 24 and the 32. We know the difference has something to do with magnetism since 32 is an allusion to the mariners compass. We can follow this clue further by examining the listing obtained from experiment 846 of Bacon's Sylva Sylvarum (see my article, "The Authorship Question and Beyond"). One sees the difference between the count of 24 and 32 is composed entirely of the varying categories of spirits. So we need to know what Bacon signified by spirits. In his "History of Life and Death" Bacon described how the spiritus vitalis (living spirit), "preys upon the body like a subtle flame." It is obvious that Bacon had paranormal vision, and could see the two fields permeating and surrounding the human body. The famous American seer, Andrew Jackson Davis, in his autobiography THE MAGIC STAFF, described the same phenomenon:
"The auricles and ventricles, together with their orifices gave
out distinct flames of light. The pulmonary or respitorial
department was also illuminated with beautiful flames.
"From the brain I saw the diversified current of life
of magnetic fire, as they flowed through the system."
Davis identified this flame as a "magnetic fire." The allusion to the mariners compass contained in the number 32 also indicates that these spirits are magnetic, or electromagnetic phenomena. In the physical configuration of the catalogue, Bacon has designed it so that the Histories that make up the increase from 24 to 32 hint at a mantle or "surround" to the Comedies and Tragedies. It is well known that the earth is surrounded by a subtle body an oval, or pear shaped electromagnetic field. What is not so well known is that the human body has a similar surround.
Here is a good example of how Bacon uses allusion to express the ideas He concealed in the First Folio. As I write this I have a book on my desk by William H. Timbie entitled, "Elements of Electricity." Timbie describes how, in a bar magnet, the lines of force flow in an oval shape around from the North Pole of the magnet to curve back around into the South Pole of the magnet. There they enter the bar magnet, and, IN A REVERSE FLOWING MOTION, flow back through the magnet to the beginning point at its North Pole. In The Winter's Tale, already noted as a microcosm of the 32 schema with the dual listing of 16 and 16 plays (see my Essay on the play), the second half of the play has a reverse flow to the first half. In Perdita's presentation of flowers, time runs not forward but backwards: "to fetch the age of gold, from winters herbs to August's carnations and striped gillyflowers, to the June marigold that goes to bed with the sun." and so back to the spring flowers she would give Florizel. In the first half the movement is from court to country and from kings to shepherds. In the second half this is reversed, and the movement is from country to court and from shepherds to kings. These instances are repeated in a number of other less obvious ways. This is an allusion in Bacon's symbolization to the reverse flow of the magnetic force.
The study of the life spans of cosmoses on their different scales is quite interesting. Rodney Collins of the Ouspensky/Gurdjieff school, in his "The Theory of Celestial Influences" has a lot of interesting material on the subject. In the three cosmoses Bacon symbolizes:
1. The planet earth
2. Individual Man
3. The cell
Human beings are composed of :
1. The physical man (with his relatively short life span)
2. The soul (with its much longer life span)
3. The monad (with a life span equal that of the planet)
There is an exact correspondence in the lowest cosmos Bacon symbolizes (the cell) to the life spans of the three bodies of the human entity. The correspondence on level of the cell, are the cell, the blood corpuscle, and the brain cell. I remember reading some years ago that the cell has a life span of 24 hours, the blood corpuscle has a life span of a month, and the brain cell (once it has been formed) endures for life of the individual human. These spans may differ somewhat with current texts but it is interesting that Bacon used 24 hours for the cell, and a month for the correspondence to the soul (30 days, i.e. 32 less the two indented plays). I remember some years ago reading one of those almost endless numbers of books Isaac Asimov had written. This one was on the blood. He described (as I remember) six types of blood corpuscles, and they corresponded exactly to the six types of souls described in the religion of Jainism.
Now we come to a feature in the First Folio even more astounding. If the Tempest symbolizes the microcosm on the level of the cell, then the world on the scale of the planet earth in relation to the people within this microcosm is at the level where the weirdness of quantum reality reigns. (Well, actually this would not be down to that level, however, in this as in everything else Bacon never misses a step. In "The Secret of the Shakespeare Plays" I have shown how the island in the Mediterranean seems to symbolize another world at a sub-level to, and within the world of the planet in the play). This is a sub-cosmos at the next lower level to the cosmos of the cell. And at this level we are certainly on the sub-atomic scale. In The Tempest Bacon depicts a most bizarre quality to the nature of the world of the island in the play. It is a world of illusion. A world of quantum reality where the mind of the observer changes the world that is viewed. The world of the island in The Tempest has an uncanny resemblance to quantum reality.
What is truly amazing is that, of all the plays, this symbolization occurs in The Tempest, the one play that (it can be argued) deals with the physical world at the scale of sub-atomic reality. That Bacon symbolized this in connection with his sub-microcosm to the cell is amazing. It staggers even my imagination. And I am as convinced as a thoroughbred mule is of the rightness of his own stubbornness, that Bacon was a superman.
How could it have been possible that Bacon had this knowledge? One possibility is that Bacon actually had the ability to see through time. He intimates as much in his 1595 "Device for Essex" where he says,
"that hill of the muses is above tempests, always clear and calm; being a prospect upon all the errors and wanderings of the present and former times. YEA, IN SOME CLIFF IT LEADETH THE EYE BEYHOND THE HORIZON OF TIME, AND GIVETH NO OBSCURE DIVINATIONS OF TIMES TO COME."
No doubt, by "cliff" Bacon refers to some higher state of consciousness.
In February of 1912 David Patterson Hatch, an extraordinary man, an eminent judge and teacher of philosophy, died on the Pacific coast of America. Soon after this Elsa Barker, a woman living in Paris, who had been a friend of Hatch felt strongly impelled to take up a pencil and write. What followed was a personal message from Hatch. He said he was communicating from the "world beyond" with information about that world that he wanted to transmit. There followed a series of remarkable communications published by Barker under the titles of, "Letter From a Living Dead Man", and, "War Letters From The Living Dead Man." Her correspondent painted vivid word portraits of the world beyond. He said in many ways it resembled the physical world of the living. But he said:
"There are strata here. This I have learned recently. I still believe that in the lowest stratum next the earth all or nearly all that exists has existed on earth in dense matter. Go a little farther up, a little farther away-how far I cannot say by actual measurement; but the other night in exploring I got into the world of patterns, the paradigms-if that is the word-of things which are to be on earth. I saw forms of things which, so far as I know, have not existed on your planet-inventions, for example. I saw wings that man could adjust to himself. I saw also new forms of flying-machines. I saw model cities, and towers with strange wing-like projections on them, of which I could not imagine the use. The progress of mechanical invention is evidently only begun."
Is it possible the description of The Living Dead Man was of one of those higher levels of the consciousness, one of those cliffs of which Bacon spoke? Could Bacon raise the level of his consciousness to this pattern world at will? Is this how he knew about the future inventions he describes in The New Atlantis, and how he knew about quantum reality that exists on the sub-atomic level?
For thousands of years psychics have described an oval shape in subtle matter that surrounds the human body. I know of at least one description from ancient Greece. In contemporary times various scientists working independently have even collected data that demonstrates the existence of this other subtle body. That this data has been accumulated is due, for the most part, to the work of Dr. Harold S. Burr and Dr. F.S.C. Northrop, but other scientists later followed up on this work. Not only has evidence been accumulated supporting the existence of this other subtle body, a considerable body of evidence has been accumulated supporting the existence of a relationship between the waking consciousness and this invisible body of man.
The surround, according to all the evidence, is a magnetic field. This field is in continual contact with the changes in the magnetic field of the earth itself, and the magnetic field of the earth is in continual contact with the changes in the positions of other celestial bodies.
Since this field fluctuates and changes as the positions of the celestial bodies change, it causes the magnetic field of man to change and produces changes in his physical, emotional, and mental states. Dr. Harold Saxton Burr's book, "The Fields of Life" was published in 1972. Burr said that man, "and, in fact all forms are ordered and controlled by electro-dynamic fields which can be measured and mapped with precision." He called these fields "L-fields" and explained that : "L-fields are are detected and examined by measuring the difference in voltage between two points on, or close to, the surface of the living form."
Burr did many years of research on the changes in these fields. He found that there were changes in the voltages of L-fields that varied in steady rhythms, over periods of weeks.In human beings these changes reflected changes in mental and emotional states. As he continued to gather and collate information about these fields Dr. Burr discovered that their changes responded to changes in the electromagnetic field of the earth. Burr began referring to this field as "the antennae to the universe."
Evidently in designing the symbolism of his cosmoses Bacon was particularly interested in distinguishing between the physical body and the two subtle bodies that surround it.
Another aspect of the difference between the 24 and 32 is also of interest. He designed the Comedies as the physical body, the Tragedies to represent its shadow, the etheric double, and the plays as a whole to represent the soul body. It is apparent that the Comedies, Histories, and Tragedies in the First Folio correspond to Bacon's division of knowledge (in his Advancement of Learning) of Imagination (poetry), Memory (History), and Reason (Philosophy). The subtle body that surrounds the physical body includes the more permanent vehicle-the soul. The soul is the real custodian of memory. Compared with the memory of the soul, which extends backward over myriads of lifetimes, the memory of the physical vehicle is negligible. So it is appropriate that in the symbolism of Bacon History (memory) should be a distinguishing feature in the difference between the two.
An obvious additional feature you might think Bacon would include in reflecting the features of the planet in his Intellectual Globe would be the seasons. Another likely candidate would be the annual birth and death of vegetation and plant life on the planet, and the fertility principle that promotes the growth of vegetation and plant life. Since we know that one of the two major aspects of Bacon's Intellectual Globe deals with the past it follows that it might be informative to look at the ideas ancient people held regarding these features in the annual cycle of the earth. Ancient people had rituals and ceremonies in connection with seasonal festivals. These were actually ritualistic magic, designed to ensure the continuation of the eternal cycles of the seasons, so that crops, animals and man might once again be renewed and revived. A good source for background on this is, "The Magical Year" by Diana Ferguson.
These seasonal festivals continued right up to Bacon's time. They dealt with two annual sets of cycles. The first was the solar cycle and had four important dates: The Autumn Equinox (September 23) and the Spring Equinox (March 21); The Summer Solstice (June 21) and the Winter Solstice (December 21), located at opposing sides of the year as follows:
Spring Equinox------------------------Autumn Equinox
Summer Solstice-----------------------Winter Solstice
The second was the Lunar Cycle and also had four important dates. In the Celtic calendar these were Imbolc (February 1) and Lughnasadh, i.e. Lammas (August 1); Samhain or Halloween (October 31) and Beltane or May Day (May 1). Beltane and Samhain divided the year into the winter and summer halves. Beltane or May Day was the first day of summer while Samhain or Halloween on October 31 was the first day of winter. These were located at opposing sides of the year as follows:
In addition, there were two calendars. The solar calendar had a year of 12 months. The lunar calendar had a year of 13 months with 1 day left over (13 X 28 = 364 + 1 = 365) hence an often encountered phrase, "a year and a day".
We have seen that there were 14 comedies in the First Folio. Twelve of these were singled out as making a matching pair with the 12 tragedies. But why were there 14 comedies? The Tempest was designed as a microcosm to the pair of 12 comedies and 12 tragedies that represented the annual cycle. The Tempest ended at 6 in the afternoon on the Autumnal Equinox. That is, it ended at the exact point between the 12 hours of daylight and the 12 hours of night. The Tempest symbolized the diurnal cycle. The remaining 13 comedies symbolized the 13 months of the lunar year. So Bacon symbolized exactly the year and a day of lunar year calendar. In Love's Labor Lost he twice repeats the phrase "twelve months and a day" near the end of the play. Anyone in Elizabethan times who heard this would naturally think of the phrase "a year and a day" which would have been the correct version of the phrase.
Instead of utilizing two groups of 12 to symbolize the 24 sidereal hours of the annual cycle, Bacon employed an idea similar to that utilized by some German writers during the last part of the 19th century. They coined the phrase "Night-Side of Nature" from the nomenclature of the astronomers who denominated the side of the planet facing away from the sun its night-side. During this interval, external objects are blanketed in darkness. The Germans drew a parallel between these vague and misty perceptions, and the similar obscure and uncertain glimpses we get of the invisible department of nature. They began to call the supernatural part of nature, the night-side of nature. It appears the 12 Comedies reflect the day-side of nature, and the 12 tragedies the night-side of nature.
In the following overview bear in mind that the seasonal festivals only took place at certain months out of the year. Here are the 12 Comedies.
1. The Merry Wives of Windsor
2. Measure for Measure
3. The Comedy of Errors
4. Much Ado about Nothing
5. Loves Labor Lost
6. Midsummer Nights Dream
7. The Merchant of Venice
8. As you Like it
9. The Taming of the Shrew
10. All is Well that Ends Well
11. Twelfth-Night or what you will
12. The Winter's Tale
In Bacon's time New Year was on March 25th. If you
add the one lunar month of 28 days (indicated by the play: The Two
Gentlemen of Verona) this takes you to April 22. Internal evidence
indicates a date of April 23 for The Merry Wives of Windsor.
Scholars had wondered why Windsor had been chosen as the site for The Merry Wives of Windsor until Dr. Hotson, the American scholar, provided an answer. In the final scene the Fairy band led by Sir Hugh Evens disguised as a satyr surround Sir John Falstaff as he lurks in Windsor Park. It is no doubt natural that the fairies should refer to the royal castle in whose shadow they were supposed to be reveling; but the references are peculiarly specific. Puck or Hobgoblin gives the following instructions:
Cricket, to Windsor chimneys shalt thou leap;
Where fires thou find'st unrak'd, and hearths unswept,
There pinch the maids as blue as bilberry;
Our radiant Queen hates sluts and sluttery.
And the Fairy Queen, played by Anne Page, gives these further orders:
Search Windsor castle, elves, within and out;
Strew good luck, ouphes, on every sacred room,
That it may stand till the perpetual doom
In state as wholesome as in state `tis fit,
Worthy the owner and the owner it.
The several chairs of order look your scour
With juice of balm and every precious flower;
Each fair instalment, coat, and sev'ral crest,
With loyal blazon, evermore be blest!
And nightly, meadow-fairies, look you sing
Like to the Garter's compass, in a ring.
There is nothing out of the way, it may be said, in this further reference to St. George's Chapel and the stall there assigned to the Knights of the Garter. Still the preparations described for making the castle ready for the sovereign and the chapel for the Knights would be specially appropriate at a performance that had some connection with the social ritual that required these preparation. This occasion, Dr. Hotson has suggested, was the Garter Feast on St. George's day at Greenwich on 23rd April 1597. This feast followed the election of the new Knights and preceded their installation at Windsor.
Two details suggest this particular date among those elected on this occasion was the Duke of Wurttemberg who as Count Mompelgart had gone to Windsor in 1592 to ask his cousin Elizabeth to make him a Knight of the Garter. The Queen obviously found him uninteresting and she conferred the honour on him only in 1597 and then in his absence. This is hinted at in Act IV, Scene 5, where Dr. Caius says to the Host of the Garter Inn,
It is tell-a me dat you make grand preparation for a
Duke de Jamany. By my trot, dere is no duke that the
Court is know to come.
And a few lines earlier we hear of some Germans that have made off with the Host's horses, a reference perhaps to Mompelgart's high-handed dealings in commandeering posthorses during his 1592 visit. Further the Lord Chamberlain, under whose patronage Shakespeare's company played, was elected a member of the Order in 1597 and it would be natural for his company of actors, especially as they were the leading company in the land, to give a private performance to add to the festivities.
The festival at the birthday of St. George was a
seasonal fertility festival that was held in many countries, and in
England in the 15th century was more popular than Christmas.According
to the legend St. George was riding one day in the Cappadocian
province of Libya when he came upon Sylene, a city being terrorized
by a dragon. The countryside surrounding the city had been all
"envenomed" and was now a veritable wasteland.
Moreover, the citizens had begun sacrificing maidens to appease the dragon. When St. George arrived the chosen victim happened to be the King's daughter who had gone forth dressed as a bride to meet her doom. St. George, however, transfixed the dragon with his lance and overthrew it. Then, using the maiden's garter as a harness led the beast back to the city. Many of the inhabitants of Sylene were baptized. St. George then killed the dragon with his sword and ordered its body carried out into the surrounding fields in four wagons. And the land became fruitful and rich once again.
It is a coincidence too great to be
swallowed that the Bacon's mask, William Shakespeare
of Stratford on Avon is supposed to have been born AND to have died on April 23rd the date of the annual festival of St. George. The contemporary records concerning William Shakespeare of Stratford on Avon are curiously blank. Most of what is there seems to be information Bacon planted to flesh out the strawman he selected for his mask. There can be little doubt Bacon planted the data about the dates of the birth and death of his Stratford mask for the purposes of the mythos he created. The Stratford man and the Stratfordian mind have a major feature in common: there is nothing there.
The next significant reference to a seasonal festival is found in the two songs at the end of Love's Labor Lost. On the surface the two songs at the end of Love's Labor Lost (one dedicated to spring; and one to winter) seem out of place with the remainder of the play. Commentators on the play have not shown any reason why they should be included at the end. But there is a very important reason for their inclusion. The song at the end represents Beltane, the dividing point between winter and summer.
In "The Golden Bough" Frazer describes how in the popular customs of the peasantry the contrast between the dormant powers of vegetation in winter and their awakening vitality n spring took the form of a dramatic contest between actors who played the parts respectively of winter and summer. In the towns of Sweden on May day, he says, two troops of young men on horseback used to meet as if for mortal combat. One of them was led by a representative of winter clad in furs, who threw snowballs and ice in order to prolong the cold weather. The other troop was commanded by a representative of summer covered with fresh leaves and flowers. In the sham fight that followed, the party of summer came off victorious, and the ceremony ended with a feast. Frazer notes similar ceremonies in the region of the middle Rhine, in the Palatinate, and all over Bavaria. He says in some parts of Bavaria the respective boys who play the parts of summer and winter sing opposing songs describing summer and winter. A few couplet serving as specimens are as follows:
Green, green are meadows wherever I pass
And the mowers are busy among the grass.
White, white are the meadows wherever I go,
And the sledges glide hissing across the snow.
I'll climb up the tree where the red cherries glow,
And Winter can stand by himself down below.
With you I will climb the cherry-tree tall,
Its branches will kindle the fire in the hall.
Although the two songs at the end of Love's Labor Lost are dedicated to spring and winter rather than summer and winter they obviously reflect the same idea. Bacon takes the opposition between learning and loving in the play, equates it with the two parts of the year: winter and spring, and by using this device fleshes out his symbolic Intellectual Globe. We know that the next play, A Midsummer Night's Dream is set at Beltane also, because when Theseus and his party are out hunting in the morning they come across the sleeping Lysander, Demetrius, and Helena. Theseus says, "No doubt they rose up early to observe the rite of May." But through its name "A Midsummer Night's Dream" also represents the summer solstice that took place at June 24.
Twelfth Night with its date of January 6, and its position immediately before The Winter's Tale is in the right location also. The play is a direct depiction of the revelry and feasting of the Twelfth Night celebrations. The action of Twelfth Night is that of a Revels, a suspension of mundane affairs during a brief epoch in a temporary world of indulgence, a land full of food, drink, love, play, disguise and music.
The Twelfth Night revels had a long history. Many nations had an annual period of license where the customary restraints of law and morality were thrown aside. They derive from the Saturnalia, the famous festival that fell in the last month of the Roman year, in the period that would now be December 17 to 23rd (it should be noted that this festival included the date of the Winter Solstice). The Saturnalia commemorated a Golden Age once presided over by the Roman fertility god, Saturn, the god of sowing and husbandry. When Saturn's reign came to an end order turned into chaos.
During the Saturnalia all work ceased, including warring. Criminals went unpunished, schools closed, language was free and unbridled, sexual inhibitions were thrown to the winds, gambling was rife, dress codes relaxed as simple tunics replaced the toga, and masters and mistresses waited on their slaves. Feasting and revelry and all the mad pursuits of pleasure are the features that seem to have especially marked this carnival of antiquity. It went on for seven days in the streets and public squares of Ancient Rome.
The order of things was overturned. Slaves changed places with masters. There was a mock kingship for which freemen cast lots at this season. The person on whom the lot fell enjoyed the title of king, and issued commands to his temporary subjects. The mock king probably represented Saturn since the Saturnalia was a temporary revival or restoration of the reign of Saturn. In more ancient times there was a darker side to this. The man who played the part and enjoyed all the traditional privileges of Saturn for a season was killed at the end of that season either by his own or another hand, whether by knife or fire or on the gallows-tree.
The festival that ended on Twelfth Night was obviously modeled on the Saturnalia. It lasted for the 12 days of Christmas. Leading the solstice revelers in their celebrations was a merry monarch, elected to rule from Christmas to Twelfth Night (which was Christmas Day Old Style, i.e. January 6).
The Winters Tale covers both the date of Imbolc or Candlemas on February 1 (the old Celtic festival marking the reawakening of the earth following winter) and the Vernal Equinox on March 21. Therefore it fits very well for the end of the Elizabethan year. In the pagan calendar Imbolc was the festival that celebrated the transformation of the Goddess from the dark Crone of Winter to the Radiant Virgin of Spring bringing with her the promise of the fertility to come. Imbolc is The Return of The Maiden, another form of the ancient story at Eleusis that dealt with the return of Kore following her abduction in the underworld during winter.
In my essay on The Winter's Tale I have shown that it embodies the myth of the Eleusenian Mysteries. More specifically it has to do with the Lesser Mysteries at Eleusis. These mysteries were celebrated at Agra immediately after the feast of Anthesteria. A relief found in the bed of the Ilissos at Agra depicts the arrival of Hercules, accompanied by Hermes, and both are still carrying the characteristic pitchers used for drinking in the feast of Anthesteria, thus showing how closely the initiation followed the feast. The name Anthesteria came from the verb anthein, "to flower". One of the poems referring to the festival has the dithyramb:
"Now the time has come, now the flowers are here."
The most notable scene in the Winter's Tale is the flower scene with Florizel and Perdita. It is a direct reflection of the Anthesteria. Whereas the scene where Hermione finally awakens after being a statue, supposedly dead, reflects the awakening of the spiritual self, during the Lesser Mysteries at the spring equinox.
The Tragedies are as follows:
1. The Tragedy of Troylus and Cressida
2. The Tragedy of Coriolanus
3. Titus Andronicus
4. Romeo and Juliet
5. Timon of Athens
6. The Life and Death of Julius Caesar
7. The Tragedy of Macbeth
8. The Tragedy of Hamlet
9. King Lear
10. Othello, the Moor of Venice
11. Anthony and Cleopatra
12. Cymbeline King of Britain
Romeo and Juliet take place at Lammas. We are told at the beginning of the play that the birthday of Juliet is two weeks away and is on Lammas eve. The symbolism during the play indicates that two weeks pass before the final scene, and that both Romeo and Juliet die on Lammas eve. In the circle of the year Lammas is directly opposite to Imbolc. Imbolc was the first day of spring in the Celtic Calendar and Lammas was the first day of autumn.
The Tragedy of Macbeth begins around October 31, or Samhain (Halloween to us). According to the old belief Samhain was the time when there was a crack in the world and creatures from below could escape to the surface of the earth. Also at Samhain witches were abroad in full force. This is the rationale for the visit in the play by Hecate and her witches from hell. The Gunpowder Plot, with which the play is associated, took place on November 5th. So if the later events in the play were associated with November 5th then we may assume the earlier events in the play as taking place at Samhain. In the cycle of the year Samhain is directly opposite to Beltane. Samhain was the beginning of winter. Beltane was the beginning of summer.
So Bacon included all eight of the major annual seasonal festivals in the First Folio. They are all in date order: the six in the Comedies, and the two in the Tragedies. It is to be noted that only the lunar calendar is represented in the Tragedies. The two dates out of the lunar calendar that are represented in the Tragedies are Lammas which is the start of Autumn and the waning moon, and Samhain or Halloween which is the start of Winter, and equates to the dark Moon. Thus Bacon implies the weird and the supernatural (that is the subtle, invisible, part) in the twelve Tragedies. It is important to note that by including these features in his Comedies and Tragedies Bacon has reflected the major features of the annual cycle of the planet in his play. These features are a reflection of the great globe in his Intellectual Globe. The fact that these features are present in the First Folio is another major body of evidence that screams FRANCIS BACON to the deaf ears of the idiots who have a death grip on the reigns of Shakesperean scholarship and are rushing off at full speed in the wrong direction.
Now we come to a curious and most significant feature of the twelve Tragedies. Romeo and Juliet takes place at Lammas (August 1). Macbeth takes place at Samhain (October 31). Julius Caesar, which is between the two, takes place at March 15th (the Ides of March). Time runs backward! I am well aware that the naysayers will immediately point out that this spoils my scenario of the seasonal festivals being in date order. My response is that in the first place this does not represent a seasonal festival, and secondly, there is additional material associated with this discrepancy that points to a feature of special significance.
That this feature was intentional and significant can be seen by a close examination of The Winter's Tale. In The Winter's Tale already noted as a microcosm of the schema of the dual listing of 16 and 16 plays, the second half of the play which is the 2nd 16 year half, has time running backward. The second half of the play is the opposite, or reverse of the first half. In the second half, in Perdita's presentation of flowers, time runs not forward but backwards: "to fetch the age of gold, from winters herbs to August's carnations and striped gillyflowers, to the June marigold that goes to bed with the sun...and so back to the spring flowers she would give Florizel." In the first half the movement is from court to country and from kings to shepherds. In the second half this reversed, and the movement is from country to court and from shepherds to kings. These instances are repeated in a number of other less obvious ways.
Is it a coincidence that one of the major conundrums of science has to do with "The Arrow of Time"? Unlike space, physical time seems to be inherently directional. Time flows in one direction only, from the past to the future. Theoretical physicists have grappled with this problem for years trying to deduce why this is so. They explain the unidirectional "Arrow of Time" with what they call the second principle of thermodynamics. In an isolated system heat will flow from hot to cold, never the other way. The end result is a state called thermodynamic equilibrium, with the heat distributed evenly at a uniform temperature. Thermodynamic equilibrium is the state of maximum disorder, and as long ago as the 1850s physicists realized that the second law meant the Universe is stuck on a one-way slide toward degeneration and chaos. In pre- physicist language we might say that, "everything dies."
Recently a group of Liverpool physicists working at the CERN Laboratory in Geneva conducted an experiment that demonstrates for the first time that the arrow of time is unique and in our universe time travels only in one direction. They did this by conducting their experiment in the realm of sub-atomic particles. They used a strange short-lived particle called the kaon and its anti-matter equivalent called the anti-kaon.
The physicists knew that kaons could transform into anti-kaons and vice-versa, and their experiment was designed in such a way that it was possible to begin with a given number of kaons and follow them until they decayed into other sub-atomic particles including electrons and anti-electrons (positrons of opposite charge). The charge of the electrons revealed which type of matter or anti-matter had decayed. The process was repeated starting with anti-kaons. The team demonstrated that the rate for anti-kaons transforming into kaons was higher than the time reversed process for kaons transforming into anti-kaons. In other words anti-matter transforms faster than matter.
The clue to the reversal of the Arrow of Time lies in the significance of the play that reverses the Arrow of Time. The play Julius Caesar with the assassination of Julius Caesar reflects a stereotype in mythology and folklore. Sir James George Frazer's "Golden Bough" surveyed the entire landscape. Frazer begans with the case of the priest of the sacred grove of Diana at Aricia, on the shores of Lake Nemi, who was called the King of the Wood. "In that grove," says Frazer, "grew a certain tree round which, at any hour of the day and probably far into the night, a grim figure might be seen to prowl. In his hand he carried a drawn sword, and he kept peering warily about him as if at every instant he expected to be set upon. He was at once a priest and murderer; and the man for whom he was watching was sooner or later to murder him and hold the priesthood in his stead. For such was the rule of the sanctuary: a candidate for the priesthood could succeed to office only by slaying the incumbent priest in single combat, and could himself retain office only until he was in turn slain by a stronger or craftier."
Frazer set out to determine the meaning of this strange case. His conclusion, after years of study of similar cases, was that the priest was regarded as an incarnation of the spirit of the woodlands, and his function was to control and regulate fertility and vegetation. Frazer found that similar figures were found among primitive people everywhere. They operated by means of magic. An examination of magical practices all over the world revealed that magic was based on two major principles (1) homoeopathy, i.e., the idea that "like produces like"; and (b) contagion, i.e., the idea that things or persons which have once been in contact can for ever after influence each other.
In accordance with the first of these principles, the king serves also as the bridegroom of a female spirit (identified at Aricia with the nymph Egeria) and has to mate with her annually to produce fecundity for the people. Such "sacred marriages" are abundantly attested in both ancient and primitive usage. They are a formal expression of the idea that sexual intercourse can promote vegetation-an idea that likewise inspires the orgiastic practices characteristic of primitive seasonal festivals.
As the embodiment of the spirit of fertility, the priestly king is a human god, and special care has to be taken to prevent any impairment of his "soul" or vital essence. If however despite all precautions, the priestly king does show signs of debility, he has to be put to death, or deposed, and his power passes to his successor. It is to be noted in the play, Julius Caesar, that the people who instigate the assassination plot harp on Caesar's debilities. Cassius said:
"He had a fever when he was in Spain,
And when the fit was on him I did mark
How he did shake. `Tis true, this god did shake.'"
And Casca, referring to his epilepsy, said:
"He fell down in the market-place, and foam'd at
mouth, and was speechless."
To forestall natural infirmity it was often the custom among primitive people to slay or mepose the king in any case after a fixed term. This explains the institution of seven, eight, or nine year kingships often attested in antiquity, and a survival may be seen in the annual election of mock sovereigns (e.g., Kings and Queens of the May, "Kings of the Bean," and "Lords of Misrule") in European folklore. It is easy to write off ancient ideas such as this as ancient superstition. On the other hand it is also possible the ancients possessed knowledge we do not. It is possible this had to do with real magic. Certainly Bacon seems to have believed it did.
There are also non-human embodiments of the spirit of fertility, e.g., trees. These have to be treated in the same way as the human embodiments, i.e., they have to be felled periodically or at the first signs of decay, and new ones put in their place. This explains the familiar institution of the Maypole and Yule log-institutions which are associated with crucial dates, e.g., the beginning of summer, and midwinter.
The concept of the dying and reviving embodiment of fertility is exemplified not only in ritual and popular custom, but also in myth. Examples are the myths of Adonis, Attis, Osiris, all of whom basically represent this figure.
Between the removal of the old king and the installation of the new, normal life is in a state of suspension. This is represented in popular custom by a period of license in which the normal order of society is halted or deliberated inverted, and a slave, misshapen person, or condemned felon is allowed temporarily to exercise sovereignty. The Roman Saturnalia is evidently a relic of this institution, as is also the European Feast of Fools, with its Lord of Misrule, Abbot of Unreason, and the like.
Now exactly what was Bacon symbolizing with the reversal of the "arrow of time" in the framework in which he depicts it? Obviously the ancient people thought there was some valid principle of magic involved. And obviously Bacon thought this also, otherwise he would not have depicted it as he did in the symbolic framework in which he depicted it. We get some idea of Bacon's meaning when we realize that it was not the physical body of the "fertility figure" that was involved. Each King did eventually show signs of debility at which point he was put to death or disposed. It was the "spirit", the "soul" or the "vital essence" that embodied the principle of the magic. Now this ties in with the data I have already developed indicating that the Tragedies represent the invisible shadow, i.e. the etheric body, the vital essence of the physical body. We are dealing here with electromagnetic phenomena, electromagnetic waves such as light and radio. And, Bacon was symbolizing.
I derived the following information now from Paul Davies book, "About Time", and the reader might want to consult that text directly for more details. Davies said he had been concerned with a nagging paradox about the nature of time. Roughly stated, the paradox was as follows:
"We take it for granted that, when a radio station transmits a signal, we receive the signal on our radio set at home after it was sent out by the transmitter. The delay is not very long-just a fraction of a second from point to point on earth-so we are normally unaware of it. But a telephone conversation relayed via satellite can introduce a noticeable time lag. Anyway, the point is that we never get to hear the radio signal before it is sent."
Now on the surface this sounds like gobbledygook, like something the farmer stepped in after he crossed the path of the bull. But Davies explained that the root of his worries were grounded in the never to be doubted for a moment, foundation of mathematical certainty. Specifically it had to do with the famous equations James Clerk Maxwell wrote in the mid-nineteenth century. These were the equations that described the propagation of electromagnetic waves such as light and radio. ACCORDING TO THE EQUATIONS IT WAS PERFECTLY PERMISSIBLE FOR RADIO WAVES TO GO BACKWARDS IN TIME AS FORWARDS IN TIME. Given a pattern of electromagnetic activity, such as that corresponding to radio waves from a transmitter spreading out through space, the time reversal (converging wave) was equally permitted by the law of electromagnetism. All of these elements are present in Bacon's symbolic presentation, and it could well be that He is telling us that here is an area in which, under certain conditions, IT IS POSSIBLE FOR THE ARROW OF TIME TO REVERSE.
Anyone who has read The Advancement of Learning and De Augmentis knows Bacon depicts the highest degree of knowledge as magic, and therefore the highest order of scientist as a magician. In The Tempest he depicted his ideal scientist as Prospero. Prospero is a magician. He is the magus, a model of man in complete control of nature.If the ideal scientist in Bacon's system is a magician, Bacon (who took all knowledge for his province) was likewise a magician. There are a number of indications of this. One is from his division of knowledge in the Advancement and Augmentis. He covers the three divisions of the world under God, Nature, and Man. But these are sub-divisions. For his primary divisions He says:
"The justest division of human learning is that derived from the three different faculties of the soul, the seat of learning: History being relative to the memory, poetry to the imagination, and philosophy to the reason."
So his primary divisions are memory, imagination, and reason. As he stated elsewhere:
"I am building IN THE HUMAN UNDERSTANDING a true model of the world."
He was building a model of the world, but with the unique specificity of design that He was building it inside the human mind. Why this insistence on building it inside the human mind? Why not just begin with those major divisions of knowledge that were, in fact, the primary divisions of his anatomy of learning: God, Nature, and Man? He seems to have been utilizing a basic principle of magic, homeopathy, i.e. "like produces like."
Among ancient peoples the practice of homeopathy was universal. But perhaps the best example, in contemporary times, is voodoo where a little doll is constructed as a replica in miniature of the person who is the target, and injury done to the doll is reflected in the person.
In the 1999 biography of Bacon, "Hostage to Fortune" by Lisa Jardine and Alan Stewart (p332, and 333) at long last we see some new information about Bacon's life. There is an account in this book of how Bacon gave a magic device he had constructed as a gift to amuse Prince Henry. The magic device was a "sympathising stone" constructed so it could be utilized to "know the heart of a man." In his letter that accompanied the gift, Bacon said it was,
"altogether made up by the compounds of meteors (as starshot jelly) and other like magical ingredients."
There are other examples of Bacon's magical practices, but these may be enough to make my point. I have shown, in previous writings, that Bacon had a closer acquaintance with the magician Dr. John Dee (who has often been seen as the model for Prospero) than is commonly recognized. Dee practiced "angel magic." I believe Bacon utilized a form of angel magic that went beyond what Dee practiced, and that he used his understanding of magic to build this into the structure of the First Folio. Since this subject is not only off the beaten path but is lost somewhere in the tangled undergrowth of the intellectual rain forest it needs considerable background. Bear with me, though I venture into the storm tossed harbor of the paranormal, the visit will not be long, and then I will steer the ship of our investigation back out onto the wide ocean of Baconian studies. I think the best place to begin may be with a description of one of my own experiences.
It happened some years ago. A girl who worked at the office where my wife worked was getting married. She was a Catholic, and my wife wanted me to take her to the wedding. I had never been to a Catholic wedding. But I had heard somewhere there was nothing like a Catholic wedding to make you wish life had a fast forward button. In the end, however, I capitulated, concluding that it would be less painful to be bored to death than to be nagged to death.
The wedding took place in a Catholic Church. I had never been in a Catholic Church. My sentiments about The Church agreed with that witticism of Lenny Bruce's, "Every day people are straying away from the church and going back to God." In particular I had never witnessed the Mass. I sit there in pained boredom and watched as the priest went through all his manipulations with the paraphernalia of his craft. My spirits received a momentary bump when the verse from Voltaire popped into my mind:
"Les pretres ne sont pas ce qu'un vain peuple pense;
Notre credulite fait toute leur science."
(The priests are not that which a vain people think; Our credulity makes up their entire science.)
But they immediately sank again. The ritual continued. Everyone kneeled and prayed. The priest went through some more manipulations. Then suddenly, I wasn't bored anymore. Suddenly I became aware that something very strange was taking place. It was happening above the people sitting in the church, invisible, but undeniably real. I felt a presence. It was very odd. It is not possible to express exactly what I felt. I did not see anything. If it was a feeling, it was not in the usual sense of the word. But I knew just as definitely and surely as if I could see and feel it, that there above the congregation in the church was a great, ineffable presence. It was a very curious sensation. I sit there trying to be as aware as possible. Trying to strain every sensibility to experience that strange, undeniable presence, to its fullness. For awhile I did. Then the priest finished his manipulations. And after awhile The Presence went away. I sit wondering, not really seeing, while the marriage ceremony played out. And my mind was still occupied with the experience later when we all went to the reception and everyone proceeded to get drunk. While the mother of the bride was reeling drunkenly across the dance floor pursuing with lustful intent all the young men in the place, I sat in a daze knowing full well that something wonderful and unexplainable had happened.
The incident made such a strong impression that I began to research everything I could find on the background of the mass. None of this material explained what I had experienced. For years I still puzzled about this strange experience. Then I happened across a book by the psychic, Charles Leadbeater, entitled, "The Science of The Sacraments", and here at last I found the explanation I had been seeking.
According to Leadbeater something does actually take place above the people in the congregation during the Mass, and although what takes place is invisible to the ordinary person, it is perceptible to people who possess the necessary psychic faculty. The ritual of the mass, according to Leadbeater, is such that it creates a structure in subtle matter above the congregation. When this structure is completed, an angelic entity enters the structure and evokes a down pouring of spiritual energy upon the congregation. The exposition given by Leadbeater explained very well the presence I had felt during the mass.
Another book, this one by Furze Morrish, and entitled, "The Ritual of Higher Magic", provided more detail about the operation of ritual in the Mass, and in the ceremony of freemasonry. According to Morrish certain operative elements in ritual, such as color, sound (music, chants, etc.), perfumes (incense and so on) can have the particular effect in subtle matter that evokes angelic entities. Morrish said rituals actually build a form in subtle matter. He said ritualistic forms all consist of some variation of three basic shapes: the dome, the square, or the pyramid. He described experiments with plates containing a fine powder that demonstrated each individual sound produces a characteristic and individual shape. Sacred hymns create a constantly changing form in subtle matter.
Certain types of sound can create a constant form that may, however, become larger with the continuation of the sound. Morrish provided description of various clairvoyants who had witnessed the appearance of a number of angelic entities at the celebration of the Mass.
The creatures we know as angels compose a hierarchy that extends over an extremely wide range. At the lower end of this range are the "nature spirits", known as elementals: those creatures that form the elements of earth, air, water and fire. The hierarchy extends from these humble, semi-conscious creatures through the grades of invisible beings of Landscape Devas, to beings we might well consider gods: angelic entities that rule cities and nations, Archangels ruling oceans and continents, to the mighty Cherubim and Seraphim who govern planets and solar systems.
There is a particular location in this
country where you can draw a line in the earth. Every drop of rain
that falls on one side of the line will eventually end up in the
Pacific Ocean. Every drop of rain that falls on the other will
eventually end up in the Atlantic Ocean.
This is called the Great Divide. Angels also have their Great Divide. On one side are the Angels of Light, and on the other are also Angels of Darkness. We may surmise Bacon's interest in the subject by noting two divisions of knowledge He noted as being deficient were:
1. Knowledge of Spirits 2. Knowledge of Angels
In antiquity humanity was closer to, and more aware of the existence of these invisible beings. Cities were often named and known to be under the influence and control of one of these beings. For example, we say now that Assur of the Assyrians was named from their god Assur, a form of ancient superstition that was widespread. In more recent history Athens of the golden age of Greece was named from Pallas Athena, the goddess of wisdom. The city was home to the finest minds of the age. Can we say with certainty that the two facts were not connected?
Lower forms of angels are like idiot savants, each possessing some special and unique ability. A good idea of this is given in "The Book of The Sacred Magic of Abramelin The Mage" translated by S.L. MacGregor Mathers. Here lists of angels are given and magical squares used for the purpose of summoning them for the most varied and individual tasks. Do you want to heal a fever? Amaimon is the one you want. Suppose you want to discover if someone has stolen some of your jewelry? Who do you call? Ariton is your man (or I should say angel). Want some silver in small coins? Summon Oriens. The lists go on and on. You can pick a lock, cause music to be heard, even cause Fludd (a Bacon mask?) describes angels as composed of respective, individual permutations from the original name of God, and, as such they perform every function in universal nature. He describes very special functions that are under the purvey of individual angels, such as transmitting energies from individual stars, or star groups.
(I have previously given reasons why I believe Fludd was a mask for Bacon, but I can't resist adding another. Past biographers have alluded to the gift of land at Twickenham given to Bacon by the Earl of Essex in 1595. In the, "Hostage to Fortune" by Lisa Jardine and Alan Stewart we are told the gift from Essex was actually a continuation of the lease. They say Thomas Bushell maintained it was a token of Essex's appreciation, upon [Bacon's] presenting him with a secret curiosity of Nature, whereby to know the season of every hour of the year by a Philosophical Glass, placed (with a small proportion of water in his chamber)'. This is certainly very interesting and revealing since, in the book "Robert Fludd" by Joscelyn Godwin, various illustrations of this "Philosophical Glass" are shown. Godwin says Fludd was very fond of his experiments with this glass, and its description and picture is reproduced in several of his works. These works are cited in chronological order as follows: "Utriusque Cosmi Maioris scilicit et Minoris Metaphysica "(1617); "Philosophia sacra et vere Christiana Seu Meteorologia Cosmica "(1626); and "Integrum Morborum Mysterium "(1631). The presentation of the Philosophical Glass to Essex by Bacon was made long before these books were published, and, in fact, while Fludd, was a youth still in college.)
Returning to the subject of angels, a very important point is the idea that energy can be transmitted by angelic entities from the subtle plane and this energy can enhance the mental or even psychic faculties of humans. Another pertinent bit of information is that the will power of the individual invoking and controlling the spirit or angel is an important element in magic. I have read accounts of magicians who set themselves a series of progressive tasks designed to strengthen their will power. If they failed in a given task they administered a punishment such as slashing themselves with a razor as a motivating element.
In his book, "Witness" John G. Bennett described an experience that is an example of how increased energy can enhance the mental faculties. Gurdjieff said the human body has two small energy accumulators connected with the functions of thinking, feeling, and moving respectively, and one large energy accumulator which supplies energy to each of the small ones. Under certain exceptional circumstances by the exertion of an extraordinary effort a person can connect directly to the large energy accumulator. When this occurs a person can literally perform miracles. Stories exist in which a house has caught on fire and a man picks up a refrigerator and runs out of the house with it, only to discover after the shock of the moment is over that he can barely move it unaided. Other stories tell how a child was pinned under the wheel of an automobile and a small woman lifted the rear end of the car off the child. Bennett described an incident that took place while he was at the Gurdjieff Institute at Fontainebleau in 1925. He was sick and totally exhausted yet he doggedly persistently on and on with the exercises Gurdjieff had set his pupils. Bennett says:
"Suddenly, I was filled with the influx of an immense power. My body seemed to have turned into light. I could not feel its presence in the usual ways. There was no effort, no pain, no weariness, not even any sense of weight."
Bennett found that the energy influx had not only enhanced his physical ability, but also his mental ability:
"All had gone into the house for tea, but I went in the opposite direction towards the kitchen garden, where I took a spade and began to dig. Digging in the earth is a searching test of our capacity for physical effort. A strong man can dig very fast for a short time or slowly for a long time, but no one can force his body to dig fast for a long time even if he has exceptional training. I felt the need to test the power that had entered me, and I began to dig in the fierce afternoon heat for more than an hour at a rate that I ordinarily could not sustain for two minutes. I felt no fatigue and no sense of effort. My weak, rebellious, suffering body had become strong and obedient. The diarrhea had ceased and I no longer felt the gnawing abdominal pains that had been with me for days.
Moreover, I experienced clarity of thought that I had only known involuntarily and at rare moments, but which now was at my command. I returned in thought to the Grande Rue de Pera, and discovered that I could be aware of the fifth dimension. The phrase `in my mind's eye' took on a new meaning and I `saw' the eternal pattern of each thing I looked at; the trees, the plants, the water flowing in the canal and even the spade, and lastly my own body. I recognized the changing relationship between `myself' and `my pattern'.
As my state of consciousness changed, `I' and my `pattern' grew closer together or separated and lost touch. Time and eternity were the conditions of our experience, and the Harmonious Development of Man towards which Gurdjieff was leading us was the secret of true freedom."
He described going back into the Study House, and said:
"Before long, Gurdjieff stopped the exercises and had the big blackboard placed in position for a lecture. He proceeded to draw an intricate diagram, consisting of a schemetic representation of the representation of the human body and the principal functions. To this he added a mechanism that looked like shafts and pulleys of various sizes. He then gave a lecture in Russian which Major Pinder translated. Although I knew very little Russian at that time, I found myself following all that he was saying, and even noticing when Pinder made mistakes in translation. I understood that Gurdjieff was showing how our capacity for work depends upon the way we are connected with the sources of energy inside us and beyond us. All that he said illuminated my own experience. Gurdjieff'' explanations reached me in a direct way as if they came from inside myself, rather than through his words and my hearing. The significance of what he was saying went far beyond my own situation: I saw a picture of all humanity thirsting for the energy that was flowing through me. Gurdjieff spoke of the Great Eternal Reservoirs which are connected with Sacred Beings who have come to earth to help mankind."
Other evidence is not lacking of the use of external energy sources to enhance mental or psychic energy. We remember in the Old Testament when King Saul goes to the School of the Prophets on Mount Carmel his psychic ability is suddenly enhanced and He begins to prophesy. Apparently the site had been so magnetized the level of energy present at site was high enough to have this effect on him. There is also testimony from Nikola Tesla , who was certainly an authority on electrical phenomena if anyone was.
In an article published September 9, 1915 by the Nikola Tesla Museum in Belgrad, Yugoslavia, Tesla said:
"The superstitious belief of the ancients, if it existed at all, can therefore not be taken as reliable proof of their ignorance, but just how much they knew about electricity can only be conjectured. A curious fact is that the ray or torpedo fish was used by them in electrotherapy. Some old coins show twin stars, or sparks, such as might be produced by a galvanic batter. The records though scanty, are of a nature to fill us with conviction that a few initiated, at least, had a deeper knowledge of amber phenomena. To mention one, Moses was undoubtedly a practical and skillful electrician far in advance of his time.
The Bible describes precisely and minutely arrangements constituting a machine in which electricity was generated by friction of air against silk curtains and stored in a box shaped like a condenser. It is very plausible to assume that the sons of Aaron were killed by a high-tension discharge, and that the vestal fires of the Romans were electrical."
The machine, to which Tesla referred, is that
curious device constructed by Moses that was called the Ark of the
Covenant. In the Bible after being specially prepared the priests of
Aaron would sit in a chair in the Ark and receive communications.
From whom did these communications come? From Jehovah? From the
priests back in Egypt?
From some higher entity? The important point for my study is that here was a machine that produced energy that could be used to enhance psychic ability. Another individual, Elisabeth Haich, in her very interesting book, "Initiation" claimed to have recovered memories from a life in ancient Egypt in which she underwent an initiation ceremony that conferred a higher state of consciousness upon her. According to her description the Ark was used by the priest to energize her, effecting a higher state of consciousness.
In fact the basis for whole reams of written material on occultism deals with a related subject. This is the idea from Tantra Yoga of the raising of the Kundalini force. I like to use the term psi-plasma rather than Kundalini, although Kundalini Sakti (from Sanskrit "coiled", i.e. serpent, and Sakti, power) is very relevant to the phenomena associated with the energy. According to this idea the psi-plasma ascends the spine and opens certain centers in the body that enable psychic abilities. The Book of Revelation in the New Testament deals with this in intricate detail for those who are capable of reading it.
Some years ago I was experimenting with a discipline that involved (among other things) the visualization of colors in a certain specific order. Apparently this discipline caused the energy to be activated. On several occasions I experienced a sensation as of the movement of energy up my spine, and on another I experienced a shock like an electric shock, almost like a blow in my spine, that had the effect of temporarily propelling my subtle body out of my physical body. So I know from personal experience that this energy is very real.
People familiar with the paranormal may be aware of what has been called "the door" in the paranormal mechanism within the human body. This is the "door" that allows passage to the activation of paranormal powers, and lies in the relation between the pineal and the pituitary glands. When the psi-plasma ascends the spine it activates the pineal gland. There are a number of phenomena associated with the activation of this gland. I recorded the following while I was practicing meditation:
"Occasionally while meditating I have experienced a sensation as of a gentle, short, backward and forward motion. A sensation which begins slowly and then increases in speed. Last night I had began meditation when this sensation began again. This time it was localized in the center of my head just where the consciousness seems to be. Also it was exceedingly rapid, almost violent. The sensation lasted perhaps 40 seconds, and became more like a vibration."
A woman who had been practicing meditation asked Edgar Cayce the following question:
"Please explain just what took place the night I heard what sounded like a large top spinning-felt a strong vibration sweep through my body and when I spoke saw a bluish spark close to the top of my head and it felt like electricity."
The pineal gland lies back against an opening into the fourth ventricle of the brain (see the book, "MAN Grand Symbol of the Mysteries" by Manly Palmer Hall for more detail) but when stimulated by the psi-plasma it begins to stir. It rises half-erect and begins to sway gently back and forth like a serpent preparing to strike. It increases in size and the little finger-like protuberance on the end moves with the rapidity of a serpent's tongue, vibrating at an incalculable rate of speed. This may result in a buzzing or droning sound.
According to Hall this is the source of the symbolism of the Uraeus, the erect cobra on the headdress of the Egyptian royalty. It symbolizes their spiritual status through the awakened pineal gland.
Not only is the interaction of the activated pineal gland in relation with the pituitary gland known as "the door", amazingly there is a phenomenon of three knocks like three knocks at a door that sometimes precedes the opening of this door. When I came across this bit of information years ago I decided the "three knocks" must be some way related to the activity of the pineal gland, and that they must also be what is symbolized by the "three knocks" in the Masonic ritual. There are also references to nine knocks in three sets of three. The symbolism in Macbeth of the Porter and the knocking at the gate in its esoteric interpretation has to do with the "door" that opens the person to influences from entities from outside. In Macbeth there are nine knocks in three sets of three, and the outside influences are diabolical.
With this background information in place I will recount the strange experience I had in connection with reading the play The Tempest. I described this experience in "The Secret of The Shakespeare Plays", but I want to add some details. I had read the play and I noticed almost immediately the fact that it was set inside the Mediterranean Sea yet had elements that suggested the New World across the Atlantic Ocean. This suggested the ideas used by Bacon in his metaphor of the Intellectual Globe where he paralleled The Old World of the past and the New World of the future with the major features of the world of his time. The Old World was around the Mediterranean, and the New World (America) had been discovered far to the West of the Pillars of Hercules. I next noted that the ship of the travelers in the play arriving at the island resembled his idea of the sailing ship of discovery venturing forward to the New World of knowledge. The more I continued to brood upon the play, the more it continued to unfold with additional aspects of meaning that corresponded with the ideas Bacon had expressed in his writings. This continued for several months. Then one night I had the experience.
I had been sleeping. At some point I passed into a state of consciousness between sleep and waking. Then I realized a strange process was taking place in my consciousness. It was like a movie reel whirling at great speed through my consciousness depicting level after level of meaning in The Tempest. This continued with more and more levels of meaning flashing through my consciousness until there came a feeling of being caught up in an infinitude of levels of meaning.
Then I passed into another state of consciousness. It was as if I had entered Bacon's mind. He was aware of the entire play simultaneously in one perception. Because I had merged with his mind I knew this was how he had perceived it. There was a unity to the totality of the play, but at the same time it was an exquisite array of precisely counter- poised opposing entities. Each of these was precisely equal to its opposite. Overall there was an absolute equality of opposing entities. The two radical entities were darkness and light. All of the others arose from the opposition and struggle between these two.
Some writers have depicted Bacon as weak willed. A reed bending with every wind. If they had experienced what I experienced then they would have known they could not have been further from the truth. His will power was so strong, so inexorable, so implacable, it was terrifying in its unrelenting power. This accords with the better sources of supernatural knowledge. Edgar Cayce, the famous American Psychic, and the Tibetan Books of Alice Ann Bailey speak of progress through this Solar System as assimilation and mastery of seven qualities that are analogous in their division to the seven colors in the color spectrum. Beyond this system the process begins again on a higher plane, and another greater system, with a tremendous enhancement of the quality of will which is the beginning of the seven qualities in the next higher system. According to Cayce some souls return to earth from the next higher system for the purpose of carrying out special tasks on earth.
An interesting after effect of my experience was that subsequent to the experience, I have on several occasions, had the experience of spontaneously tuning into people minds.When this happens it is as if I am actually inside their mind experiencing their thought processes just as they experience them. Before the experience related to The Tempest I had never experienced this faculty. In any case, after the paranormal experience associated with The Tempest I often wondered if there was something in the play that had caused the experience.
After a number of years I no longer thought about this. Then, after my articles had been posted on sirbacon.org I received an email from a woman who had read "The Secret of the Shakespeare Plays." The woman was obviously quite intelligent, and well above average in her ability to express herself through the written word. She had read the account I gave of my experience, and she said that she had also had a mystical experience after reading The Tempest. She did not want to describe it. I did not hear from her again for about three months. Then she wrote again. After we exchanged a few emails she finally described the experience. She said she was afraid to read The Tempest again after having the experience.
She had been going to a writing school and was given an assignment to write a paper on The Tempest. Some time after this she was trying to meet a deadline for an undergraduate thesis. She was sitting there typing away when she had a sensation as of information pouring directly in her head. It was like a rushing sensation. This scared her badly but when it subsided she went back to typing. Suddenly there was the sound of three big knocks that seemed to come from the side of the house about twenty feet from where she was sitting. It sounded to her like someone pounding bang-bang-bang, with a mallet or sledgehammer. They were very loud knocks. Eardrum shattering knocks. At this point she was so frightened she was crying. She decided `something' was trying to distract her and she had to keep typing. She sat sobbing and typing, and the knocks came twice again in sets of three. The knocks were not only terribly loud, they had a strong vibration. Following this she began to be so emotionally disturbed she thought she was having a nervous breakdown. In a state of extreme emotional disturbance she checked herself into a hospital, explaining somewhat incoherently her emotional state, and told them that she felt suicidal.
They promptly put her in a locked room and forgot about her. She was alone in the room for about a day. While she was there alone she began to have the overwhelming sensation of an alphabet, of letters pouring into her head. The sensation was completely involuntary and lasted for about an hour. She felt as if she was losing her mind. Then, in a mildly euphoric state she stood up. Each action was completely involuntary as her left hand, extending outward, pointed toward the blank wall, and the index and middle finger curled against the thumb with her ring and little finger separated. And, as she stood there, energy spewed out from her fingers and streamed across the room to the wall.
Where the energy struck the wall exquisitely beautiful pictographs composed of a crystalline substance of an aquamarine color with silvery white tones began to form line after line upon the wall. She estimated it took at least six hours for all the pictures to form upon the wall, yet during all that time she had not the slightest sense of fatigue, although in a normal state she could not have continued after holding her arm out for five minutes. When the process was completed there were three rows of eight each of those shimmering `plates' on the wall, and She noticed something in her hand. It was a small green tendril about four inches long and curled like a little bright green vine. She went over to the wall and ran her fingers over the `plates'. They had a slightly rough feel, like tiny shards of crystal. They seemed to be made of very tiny triangular or possibly tetrahedral crystals fitted together. The designs seemed `oriental'. The `plates' were about 10 inches by 14 inches each and stayed on the wall without fading for two and a half or three days. Then suddenly they just blinked out.
I found her account fascinating. It seemed to me that there were elements in both her experience, and mine, that indicated we had tapped into some sort of psi-plasma source, and that this came about as a result of reading The Tempest. This reinforced my suspicion that there was something in The Tempest that caused the experience I had after reading it. It seemed to me that the most plausible explanation for her experience was that she had received an excess of this energy, and it was becoming harmful to her. So her higher self took control and downloaded the excess energy against the hospital wall.
A sort of paranormal degaussing. She must have received a tremendous influx of the psi-plasma for it to take six hours to download the excess energy. The energy had already enhanced her paranormal faculties so that she was able to see and even feel the forms in subtle matter that existed upon the wall. In his book, "In Search of the Miraculous",
Ouspensky described a similar emotional state he also found very distressing that resulted from enhanced energy. Shortly afterwards Ouspensky began having paranormal experiences.
How could reading The Tempest cause someone to tap into this psi-plasma? I felt Arkon Daraul's account in his book, "Secret Societies a History" of "The Order of the Peacock Angel" might be relevant. Daraul suggested The Order of the Peacock Angel had a Sufi origin. Daraul encountered members of the order with their cult somewhere in Putney, most respectable of London suburbs, in the second half of the twentieth century. There were sixty men and women gyrating in an underground temple before an eight-foot, glossy black statue of a peacock.
Each of the members of the cult were robed in a white flowing garment, and on the breast of each was embroidered a peacock, -some green, some black, others red. Rising and falling in an incessant, all intrusive beat, hidden drums were thudding out a tempo that made it almost impossible to keep oneself still. In addition to the drum a musician sat in a corner playing a guitar from which a haunting melody seemed to creep through Daraul. Daraul said he noted that if he looked at the statue and listened to the music he felt wave after wave of something sweeping over him. He did not lose consciousness. His mind became more and more awake, while his body seemed to recede in some way into complete unimportance. The sensation, as it grew, was one of the most ineffable relief, of joy, or happiness, such as one had only felt before in moments of exceptional fulfillment. There was nothing in his mind, except the desire to allow this blissful state to continue, for it seemed to pour fresh strength into him.
He was able, at the same time, to take some note of what was going on around him, and also to think, if he wished, of other things. The first extraordinary development in his consciousness was that, when he let himself think about a certain problem, the solution immediately flashed into his mind. This had the same quality of certainty that exists when one dreams that one has settled ones worries. The difference this time was that the solution was in fact correct, and he was able to act upon it later.
The second phenomenon was a vast expansion of memory. Trying to recall a time about which his memory was slight, he fixed upon a moment, many years before, when he was carrying out a study of symbols used in ancient cultures. Anyone who had had the difficulty of absorbing and correlating masses of almost meaningless designs would understand how he felt when he suddenly realized that these shapes were whirling past his mind like an unreeling film. There was all the material, available whenever he wanted to see it, stop it, reel it back.
Now I want to take a moment to paste a few bits of this information together. The first point I want to make is that all three of the experiences I have cited had a feature in common. This common feature is the sensation of information whirling through the mind like a film unreeling at high speed. The next common feature is that all three experiences have elements that suggest the influx of the psi-plasma energy as the cause of the accelerated and paranormal mental activity. In connection with the information I had developed about ritual summoning of angelic entities who impart a down pouring of spiritual energy upon the people involved in the ritual, it was plausible to think that the ritual of the Peacock Angel might have been something of a similar nature. That the Peacock Angel might have been exactly what its name implied, an angelic entity that was summoned by the ritual and that imparted a special form of energy to those engaging in the ritual.
I thought Jean Overton Fuller's description in her book, "Sir Francis Bacon" of the experience she had in the Compton Oak Room at the Canonbury Tower might have some relevancy to subject of the Order of the Peacock Angel. Francis Bacon leased this property in 1616. Some Baconians believe this is where Bacon met with a secret group. Fuller says pillars are carved on the wall in bas-relief as in an ancient temple. There were a number of engraving around the room, but one with which she was particularly struck was on the bases of the two Corinthian pillars in the west wall, and the southern most of the Corinthian pillars in the east wall. She described it as an extraordinary face, rounded, plumb and full, and thought it might represent a veiled and feathered sunburst. While she was contemplating the engravings she had a strange vision. As if from the wood, a bird in the shape of a peacock stepped toward her. Its feathers were not, however, peacock's feathers, but aquamarine sequins, reflecting the light from every angle. It was entirely composed of these sequins, except for the legs, feet, bill and quills, which were all of a white metal, lighter than silver. A bird that never was, and never could have been, it stepped toward her with astonishing vigor, raising its feet very high, its neck arching, head darting, crowned baubles waving, tail trailing, all in a shimmer. It displayed a strange brilliance against the old wood, and then it vanished.
Fuller had a photograph of the engraving of the figure she called, "The Veiled and Feathered Sunburst" in her book. It was a feminine face, and amazingly this was the same face that is in the woodcuts at the top of the two narrative Shakespeare poems, "Venus and Adonis" and "Lucrece." However, in these two engravings there is a very significant difference. JUST BELOW ON EITHER SIDE OF THE FACE IS A PEACOCK. Now really, is it just coincidence that Jean Fuller had her waking vision of a peacock in connection with viewing the engraving of the same face in the Crompton Oak Room that appears on the two narrative Shakespeare poems, and that has peacocks below it? The more plausible supposition to me is that Fuller had a genuine psychic experience, and that her vision reflected something actually connected with the room, probably with the secret meetings and ceremonies that took place in the room. My theory is that the face represented that of the Peacock Angel whose rituals were conducted at the secret meetings in that room.
There is more to this (you don't think I'm going to stop while I'm on a roll, do you?). The Arms and Crest Bacon inherited from Nicholas Bacon had a boar with the family motto, "Mediocria Firma" underneath. At some time Bacon altered this so it appears in Guillim's "Heraldry" edition 1610 with Castor and Pollux as a prominent feature. The Dioscuri are very large in relation to the Arms. One appears on one side standing on the "Mediocria" legend, and the other appears on the other side, standing on the "Firma" legend. It should be noted that the constellation of Gemini was known as Castor and Pollux in classical antiquity, and, in fact, the two major stars of the constellation still bear that name today. According to the Tibetan book, "Esoteric Astrology", the constellation of Gemini transmits to earth via Mercury the energy behind the manifestation of all opposites and duality on the earth, and this is also the energy that fuels mental ability. Gemini is related directly to the etheric double, transmitting the energy to it that is then transmitted as mind enhancing and psychic ability energy (the energy I have dubbed psi- plasma) to the organism.
The Arabs (and consequently the Sufis) called the constellation of Gemini, "The Two Peacocks." It is significant (in addition to the engravings on the two narrative poems), that at the beginning of the First Folio, the emblematic headpiece I call, "The Hunt of Pan" has Pan (universal nature) holding up a peacock in each hand, slightly above the level of his head. Does this symbolize the relation of the constellation Gemini to universal nature on earth? Furthermore, the two infant boys on the emblematic "double A" headpiece, at the beginning of the First Folio, have often been identified as The Dioscuri. Does the two opposites expressed in the light and dark "A's" have any connection with the idea of the constellation Gemini transmitting the energy of opposites to earth?
Some time before I had the experience related to The Tempest, but while I was very much involved in studying The Tempest, I went to a woman in Columbus, Ohio (Elizabeth Bacon) who had a reputation for her psychic ability. She gave "Life Readings", describing past incarnations, but what I was really interested in was obtaining information about The Tempest. She sat on one end of a couch and I sat on the other and she began to tell me all kind of information about myself that she should have had no way of knowing. I was not that interested in the Life Reading and it seemed interminable. When she finally got to the end, I jumped in with both feet and began firing questions at her about The Tempest. I was disappointed with her answers.
Fortunately I taped the sessions and transcribed the tape. As I was writing this I looked through her reading again. This time I found it more interesting. Before the reading I had told her I wanted to ask some questions about Francis Bacon. Near the beginning of the reading she said:
"And the project that you're going to ask about later, you have a good 2/3rds of it licked. And part of it has to deal in a realm not purely material. You must realize that the things that were written by Shakespeare and by Bacon, that some of these things were written of the physical plane, but others were written for the astral and even higher planes. So you must have the cipher. And the cipher is in the symbols. And if you'll go back to the symbols you'll have your proper cipher."
Then a few minutes later she suddenly began to laugh and said, "Your symbol is part of the answer to the question you're going to ask later. Ha.ha. The Pyramid.This is the answer to part of your Baconian question. Isn't that nice to know?"
At the end of the reading when I started to ask her questions about The Tempest and brought up her earlier reference to the pyramid, I thought she had been referring to Bacon's Pyramid of Nature. Her answer seemed totally out of place. She said,
"It is really an astral cipher, being a pylon from another dimension, and has also within itself the capacity for communication.to make contact.to interrelate with extra-terrestrial beings."
Her answer had no bearing on Bacon's Pyramid of Nature, but as regards the contact with The Peacock Angel, presumably the angelic entity that that transmits energy from the constellation Gemini, her answer may have been much closer to the point. Her comment about the symbols was certainly apropos. Anyone who reads the Plays without realizing that it is necessary to follow the symbolization in order to understand them may as well fold their tent like an Arab and silently still away. There is a joke about a man who arrived at a strange town and called a friend who lived in the town to come get him.When the friend asked him where he was, he answered, "On the corner of Walk and Don't Walk Streets." People who can't follow the symbolization in the Plays are standing on the corner of Walk and Don't' Walk Streets waiting for a guide to come along. The Stratfordians are in an even worse situation. They not only began at the corner of Walk and Don't Walk Streets, but under the mistaken assumption that they know their way around, they have continued on to those peculiar streets with the offbeat names of "One Way" and "Dead End."
If there is a pyramidal shaped pylon from another dimension anchored somewhere out there in subtle matter, why do more people not have a paranormal experience in connect with reading the play? And what is there in The Tempest that can cause the reader to make contact with this "pylon from another dimension", and consequently with the angelic entity? The answer to the first question is obvious. Apart from the factor of the inner development, and psychic disposition, it is evident that people read the play like people have become accustomed to reading material today. They breeze across the surface without really absorbing it.
The answer to the second question has two parts. Both have to do with resonance. The magic stone Bacon gave Prince Henry was a "sympathising stone", operating on the principle of sympathetic vibration or resonance. A singer, for example, can hit a certain note and cause a guitar string that is strung for the same note to vibrate and emit the note. According to Morrish this is the element in ritual that attracts the angelic entity. The entity is attracted because there is something in its nature that resonates to specific elements in the summoning ritual.
Psychics describe how thought produces actual forms in the subtle body of man. The Tempest has a most interesting design. If the testimony of these psychics is true, certainly reading the play must produce a very interesting structure of thought forms.
There is a book by Mark Rose titled, "Shakespearean Design" where he discusses the design of the various plays. Rose says The Tempest is one of the most disciplined, most severely controlled plays in the canon. He notes that the play's design is conspicuously disciplined. He shows a diagram of scene 2 to scene 8 with scene 5 (Ferdinand, and Miranda) in the center. Going across on the diagram are scenes 2, 3, 4, 5, 6, 7, and 8.
Each of the two scenes grouped on the outside are absolutely symmetrical. Scene 2 and 8 has Prospero, Ferdinand, and Miranda. Scene 5 and 7 have Alonso, Sebastian, and Antonio. Scenes 4 and six have Caliban, Stephano, and Trinculo. So that surrounding the central frame, and accounting for almost the entire play, is an extraordinary triple frame composed of three distinct character groups. Rose thinks the elaborate patterning of The Tempest has little dramatic function. He says, "Together with the obedience to the unities it seems to be merely a display of virtuosity, a pyrotechnical grand finale."
There may be a hidden reason for this "pyrotechnical grand finale". The scene with Ferdinand and Miranda is the central focus point of the play. The high point. The play has a pyramidal design. Moreover, within this pyramidal design in precise symmetrical counterpoint to each other are the multitude of opposites, the precisely counter-poised array of opposing light and dark entities that I perceived during the experience I had that resulted from reading The Tempest. Although this may not be consciously perceived by someone reading The Tempest, for anyone who makes a deep study of The Tempest, and submerges themselves in the play it must feed through to the higher consciousness behind the waking consciousness. Then, perhaps, it creates a thought form that is an intricate pyramidal shaped structure composed of precisely counter-poised, light and dark entities in the subtle body of the higher self, that resonates to the "pylon from another dimension." Moreover, if the Peacock Angel transmits the energy that informs all of the opposites on earth, its nature must certainly resonate to the structure of the opposites in The Tempest, and of the thought form created by reading The Tempest.
When the angel is present it transmits a down pouring of energy that floods the etheric body. The amazing book, "A Treatise on Cosmic Fire", the masterpiece of the Alice Ann Bailey "Tibetan" books, describes how an excess of energy in the etheric body can settle and blend with the energy at the base of the spine and cause the energy to ascend the spine column. The process that is known as awakening the Kundalini force. This then activates the paranormal centers.
There is a mechanism in the human body through which extrasensory perceptions may be received. Such perceptions are rare since the energies inducted into the physical body are normally so faint that they are far below the threshold of waking consciousness. The situation is analogous to listening to two radios at the same time, one receiving a faint signal and the other a powerful signal. The stronger drowns out the weaker.
Nevertheless although people are not consciously aware of receiving signals, the reception is manifested in mental and emotional rhythms everyone is subject to. These biorhythms plus many cycles in nature can be traced back to the electromagnetic changes caused by the movements of various heavenly bodies, and by the rhythms in the energy emission of these bodies.
In a radio and television sets an external power source is used to amplify the very faint currents inducted in from the antenna. An analogous mechanism exists in the human body. In each person the electromagnetic field expands and contracts as they breathe.This field cuts across certain cells inducting a very faint alternating current that flows up the spine and through the natural circuit that exists in the human body. It is continually present and powers the vital functions of life. Excess energy is stored in a storage center.
Through certain practices such as Yogi, in which
special breathing is employed, the influx of energy can be augmented
and caused to flow up the spinal column in increased strength
activating the pineal gland and creating an interaction between it
and the pituitary gland. This can then result in an attuning that
causes the induction of a flow of energy from outside.
The mechanism of this attuning can, perhaps, be illustrated by examining what takes place in Series Circuit Resonance since the internal circuit is related to the external circuit of energy in a manner analogous to that of a series circuit. In any series circuit containing both L (inductance) and C (capacitance) the current is greatest where the inductive reactance (XL) equals the capacitive reactance (XC), since, under those conditions, the impedance (Z) is the vector combination of resistance (R). Whenever XL and XC are unequal, the impedance is the vector combination of R and the difference between XL and XC. This vector is always greater than R. When XL and XC are equal, Z is equal to R and is at its minimum value, allowing the greatest amount of current to flow. When XL and XC are equal, the voltage across them, EL and EC are also equal, but of opposite phase, and the circuit is said to be at resonance. This state can result in a flow of electromagnetic energy from outside the organism. Clairvoyants have described a tongue of flame descending upon the head directly above the upper tip of the spine and immediately above the pineal gland.
Evidently Francis Bacon returned from France with a great plan in mind. In his book, "The Mystery of Francis Bacon" William Smedley described The Pleiade. He says they were:
".a group of seven men and boys who, animated by a sincere and intelligent love of their native language, banded themselves together to remodel it and its literary forms on the methods of the two great classical tongues, and to reinforce it with new words from them."
He suggests that Bacon returned from France inspired by The Pleiade to do the same thing for the English language. Of course, Bacon was of an altogether different and higher order of being than the members of The Pleiade. There is evidence He began forming his Rosicrucian "Shake-Speare" group (who operated under the aegis of Pallas Athena) to aid him in his task soon after he returned from France. I have noted (in The Secret of The Shakespeare Plays) the uncanny resemblance of the case of Francis Bacon with the speculations of Science Fiction writers about the superman. But even the science fiction writers never imagined the case where a superman had devised a mechanism for the purpose of enhancing the mental and psychic abilities of the people he used to carry out his designs.
If The Peacock Angel is in fact the angelic entity
whose office is transmitting the energy that originates in the
constellation of Gemini and comes to earth via Mercury. And if this
energy is not only behind all mental ability, but also behind all the
opposites and dualities on our planet, then the angelic entity must
be a very high entity indeed. One that the ancients would have called
a goddess and that has existed for millenia, known by one name in our
age, and other names in former ages. Like for instance: Pallas
The woman who wrote me about the paranormal experience she had following her reading of The Tempest noted a very strange aspect of this experience just as it ended. It will be remembered that at the end of her experience She noticed something in her hand.It was a small green tendril about four inches long and curled like a little bright green vine. This aspect of the experience had a curious parallel in classical antiquity.
According to the story when the Persians advanced with their overwhelming forces against Athens, Athena would have saved it, but Zeus said fate had decreed otherwise. Athens must perish, in order that a better and nobler city might rise from its ruins. The Athenians took to their fleet, abandoning the city. The Persians then entered the city and destroyed it utterly with fire and sword. Not even sparing the olive tree sacred to Athena.
But when the Athenians returned Athena she gave a sign that she had not forsaken her city even in its utterly ruined state. From the root of the destroyed olive tree there appeared a small bright green tendril that with wonderful quickness grew to a length of three yards.This was Athena's sign to the city that she had not abandoned it. It was an emblem of the regeneration of the city. And, with the aid of Athena, the Athenians fought foremost among all the Greeks at the famous sea battle at Salamis against the Persian fleet, and although vastly superior in numbers, the Persian fleet was wholly destroyed.
On the page immediately before the catalogue in the First Folio is the famous "double A", (light "A" dark "A") emblem. Famous, that is, to the Baconians. As for the Stratfordians, they have acquired somewhere, along with their cherished notion that grape nut flakes is a venereal disease, the idea that "double A" is a term relating to professional baseball. But the "double A" emblem is the most important variation of the emblem that Bacon (who had the uncanny ability to pack so much meaning into such small matter) used to mark his books from their earliest appearance. This is the emblem given his most favored symbol status.
In his Novum Organum Bacon described "Instances" that show what should be investigated first and what later in the ascent of the Pyramid of Nature as one seeks to isolate the form of some particular in nature. There are instances where the nature has nothing in common with other natures; other instances where the nature is most revealed; and instances constituting a species of the nature in question. But one instance stands out from the others. This is the instance that points directly toward the form of the particular in nature. Bacon called this "An Instance of the Fingerpost" from the analogy to old signs at crossroads with a hand with a finger pointing toward the traveler's destination. Bacon's "double A" emblem at the beginning of the First Folio is "An Instance of the Fingerpost" pointing toward the heart of his Mystery.
Even though this emblem points toward the heart of his Mystery it is still necessary to make some digressions in the quest for that heart. Robert Ardrey (African Genesis) described how He watched a cloud of insects in Africa that had been disturbed flying around a bare twig. After awhile, they resettled on the twig, crawled around over one another's backs for a few moments, then formed into a shape that looked for all the world like an exquisitely beautiful blossom, green at the tip, gradually shading into delicate tints of coral. Bear with my digressions. They are the parts of my revelation. When I bring them together, the exquisitely beautiful blossom I will pluck out from the heart of Bacon's mystery, is nothing other than the Rosicrucian Rose, that transcendental flower that blossoms at the juncture of the cross where the two opposites meet.
I will begin my digressions with an August morning in 1593. Bacon along with Richard Field and a few other friends was departing London post haste for his country retreat at Twickenham following "a flying rumour" spread through the city of an outbreak of the bubonic plague. This was not Field the printer, but the scholar (1561-1616) who later became a preacher, and who Anthony Wood describes in his Athenae as a man of vast learning and astonishing memory. Bacon sent a letter to his friend Lancelot Andrewes asking him to join them. Andrewes was a scholar of such vast learning, master of 21 tongues, that someone quipped he could have been interpreter general at the confusion of the tongues. Bacon also sent a letter to Thomas Phellipes a close friend he had first met while attached to the English Embassy at Paris during his youth. Phellipes was the greatest cipher expert in all England. A linguist, and a man of great learning. Bacon said he had need of "someone of his fullness." Although Bacon stayed at Twickenham only four days on this particular occasion, he returned soon afterwards for a much longer stay.Why did Bacon have need of so much brain power?
We get a clue from the narrative poems he wrote
around this time. He would have had the same clique of friends around
him when he was gathering data for Venus and Adonis, written not long
before. The Rape of Lucrece appeared in May of 1594 and probably
resulted from the data he gathered at the time of the incident
So these two narrative poems give us a clue to what were occupying Bacon's mind at the time. We know, in the first place, that Bacon was residing at Gray's Inn at the time, very much involved with the Law. The concealed message in the opening verse of Lucrece comes as no surprise:
F From the besieged Ardea all in post,
B Borne by the trustless wings of false desire,
L Lust-breathed Tarquin leaves the Roman host
A And to Collatium bears the lightless fire
W Which, in pale embers hid, lurks to aspire
A And girdle with embracing flames the waist
O Of Collatine's fair love, Lucrece the chaste.
It doesn't require a rocket scientist to decipher
(beginning and end). Venus and Adonis deals with one of the best
known of the ancient fertility myths and thus is related to the
central theme in the First Folio. The content of Lucrece is obscure.
However, scholars (bless their little hearts) have since dug up
information that completely illuminates it. The famous Roman story of
Lucius Junius Brutus the slayer of King Tarquin, along with the
subsequent events connected with the Rape of Lucrece, includes many
elements of the body of mythology relating to the declivity of the
earth's axis. This body of mythology was later used as the basis for
the play of Hamlet. (See "Hamlet's Mill" by Santillana and Dechend,
and my essay on Hamlet). So Bacon was very much involved at the time
with mythological material connected with the annual fertility cycles
of the earth, and with the declivity of the earth's axis. We also
know (if my present effort has not been wasted) that this is central
to the symbolism of the First Folio.
Now consider again the light "A", dark "A" emblem that prefaces the catalogue to the First Folio. Since Bacon bundled his esoteric writings into the Robert Fludd corpus we can be certain of the fundamental significance of the emblem. In the Robert Fludd work, "Mosaical Philosophy" there is a comprehensive description of the light "A", dark "A" symbolism. God was an absolute unity, but he could either remain in a potential state, or he could act. Before God acted the profound abyss of darkness was vacant, and was therefore, termed in Hebrew "Ain" which is to say Nothing. So all that was created was created from that which in plain English, was nothing at all in our imagination. The original state of nothingness was the dark "A" (aleph), to the mind of man a chaos and dark abyss. The active state was the light "A" (aleph). When the light "A" acted upon chaotic matter, the result of this activity of God was light:
"So that as two contrarieties of discorse, proceeded from one Unity of unison, namely Light and Darkness from one Divine Essence, so also these two dissonant branches or confusion of Unities, will at the last be reduced or return again into one harmonious Unity, In which there will be found no dissonancy."
But it was the will of God that the two dissonant entities of darkness and light should be joined into a unity by the inviolate bond of his undying spirit of Fiery Love, making of the dissonant duality a trinity in unity. God is described as fire; the "Ens Entium", -the pure igneous or fiery inviolate inviolate existence. There was an interesting tradition behind this description. In ANACALYPSIS Godfrey Higgins said:
"I believe by almost all the ancients, both jews and gentiles, the Supreme Being was thought to be material, and to consist of a very refined igneous fluid; more like galvanic or electric fire than any thing with which I am acquainted."
In the READINGS Edgar Cayce said what we know as electricity is God; the nearest thing to a manifestation of God in His pure essence that exists in materiality. Electricity was not known in Fludd's day, but Fludd said the best example that exists of God in materiality is FIRE, and the fire that he describes seems to be electric fire.
Fludd said it was by fire that the Incomprehensible Jehova brought forth the creation from the original chaos; that the Chaldeans called this power, the fiery love, so that the entire creation was produced through the power of love, and added that this fire is capable of multiplying itself endlessly. And Bacon says the same thing writing under his own name in his exposition of Cupid (love) in the Wisdom of The Ancients:
"For the summary law of nature, that impulse of desire impressed by God upon the primary particles of matter which makes them come Together, and which by repetition and multiplication produces all The variety of nature, is a thing which mortal thought may glance At, but can hardly take in."
Fludd said all things spring from the contention between discord and concord, hatred and love, or antipathy and sympathy. The dark "A" is opposed to the light "A" so that the whole world, and every creature is "of a twofold nature, whereof the one is contrary unto the other, and yet there is not anything which is defective." Love and hatred, sympathy and antipathy, were created to girdle and shoulder one another in the world; first then stars, then winds and elements, and, lastly, compound creatures, which are composed of these elements. Man is a microcosm of the great world. The soul in the great world has the same faculties as the soul in the little world. As the great world is composed of hatred and friendship, so is the little world that is man. The same passions in man are also in Universal Nature. We remember that, writing under his own name, in his "Cogitationes de Natura Rerum" Bacon said:
"The passions of bodies which have sense, and of bodies without sense, have a great correspondence."
It is obvious that what Bacon describes
under his Fludd mask is electricity and the electromagnetic force.
And this is what Bacon symbolizes in his depiction of the great
panorama of Universal Nature throughout the First Folio. An old adage
proclaims, "familiarity breeds contempt." Familiarity certainly
breeds blindness. Because the electric and the electromagnetic forces
are so familiar to us today we don't recognize the great mystery they
present. The greatest physicist alive on the planet today knows no
more about the true nature of the electron than a bee knows about the
true nature of the rose. The standard theory used today to explain
electricity and the electromagnetic forces the result of a scramble
to put a mass of empirical data the physicists had gathered into a
coherent theory that explained the phenomena.
On my desk is a book by Van Valkenburgh, titled, "Basic Electricity." Following standard electrical theory, Valkenburgh says,
"Electrical energy is transferred through conductors by means of the movement of free electrons that migrate from atom to atom inside the conductor. Each electron moves a very short distance to a neighboring atom where it replaces one or more of its electrons by forcing them out of its outer orbit. The replaced electrons repeat the process in other nearby atoms until the movement of electrons has been transmitted throughout the entire conductor."
Compare Bacon's exposition on "Cupid" in "Wisdom of The Ancients". Bacon says:
"The blindness of Cupid contains a deep allegory; for this same Cupid, Love, or appetite of the world, seems to have very little foresight, but directs his steps and motions conformably to what he finds next to him, as blind men do when they feel out their way."
Also in "Cupid" Bacon says:
".for the summary law of nature, that impulse of desire impressed by God upon the primary particles of matter which makes them come together, and which, by repetition and multiplication produces all the variety of nature, is a thing which mortal thought may glance at, but can hardly take in."
No doubt, with his paranormal vision, Bacon could actually see the process of the electrons at work in the great panorama of universal nature.
Valkenburgh's description of voltage is of interest also. He says that,
"since work is required to separate the positive and negative electric charges, then it follows work results when these charges come back together. The separated charges, or potential differences, represent the potential capacity to do work. The unit of potential difference is the volt. We measure potential differences or electromotive force in volts and we call the measured difference voltage."
Now where have I heard before? It certainly resonates with something Bacon said. Look at The History of Sympathy and Antipathy of Things:
"Strife and friendship in nature are the spurs of motions and the keys of works. Hence are derived the union and repulsion of bodies, the mixture and separation of parts, the deep and intimate impressions of virtues, and that which is termed junction of actives with passives; in a word, the magnalia naturae."
So the "double A" emblem at the beginning of the
First Folio has this allusion, but that does not exhaust its
allusions by any means. It alludes to Bacon's Alphabet of
Also the two infants seated on the light "A" and the dark "A" not only refer to Castor and Pollux, but by connotation, to the physical doctrine the ancients associated with Castor and Pollux. According to Strabo the ancients concealed their views of nature in enigmas, and wrapped their scientific observations in myths. Castor and Pollux, the two twins who were polar opposites, represented the polarities of electricity and of universal magnetism to the ancients (see "The History of Magic" by Joseph Ennemoser. 1970 by University Books, Volume II, pages 27,28, and 29).
The Dioscuri were considered the patron deities of seamen and voyagers, and the globes of electric fire that, in certain states of the atmosphere, play around the sails and masts of vessels, were called by their names. The association of Castor and Pollux with magnetism, and as the patron deities of seamen, probably indicates that at some remote period the ancients had knowledge of the compass. It certainly indicates Bacon had a covert allusion to magnetism in the "double A" emblem and also that the emblem contains an allusion to the influence from the constellation of Gemini. There are other allusions in this amazing emblem. Like the statement Bacon made about the Summary Law of Nature, mortal thought can glance at it, but can hardly take it in. A major aspect of the emblem deals with the central mystery of Eleusis. At Eleusis there was depicted an infant in connection with freshly reaped wheat. There is an apparent allusion in the "double A" emblem to this central mystery of Eleusis also. Here is also depicted an infant in connection with freshly reaped wheat.
The allusion cannot be an accidental.
John D. McDonald one of the most competent popular writers of our time, raved somewhere about the "control" that James Jones (author of "From Here to Eternity", and "Some Came Running") demonstrated in his writing. As good as Jones was, Bacon's control was of an altogether higher order. You can be certain that any implication in his designs and writing is intentional. He had such perfect control, such an all-encompassing and ever present awareness that that every possible allusion is intentional. When you see, in the "double A" emblem, the allusion to the central mystery of Eleusis, this allusion is part of his intentional design. Moreover, the Mystery of Eleusis is the central theme of the two plays, "The Tempest", and "The Winter's Tale" that are the most important plays in relation to the symbolism of the First Folio.
What was this allusion in the "Double A" emblem? When Demeter's daughter was abducted and taken away to the underworld the entire earth became barren until she was returned to Demeter. The aspect of the mystery even more central to the drama was the Sacred Marriage, and the birth of the child. The birth of the child was related to the final ceremony, the wheat "reaped in solemn silence". According to the anonymous, third century A.D., author of the Philosophoumena, this was "the mighty and marvelous and most complete epoptic mystery" of the Eleusenian Mysteries.
Other myths cast light on the myth of old Eleusis of Demeter searching for her daughter, Proserpine, who is in the underworld. The myth of Eleusis is only one in a long chain of similar myths. The earth was barren until Proserpine was returned. The return of the daughter was accompanied by the return of the fertility of the earth. This myth is reflected in myths relating to the growth principle in universal nature that go all the way back to the earliest extant records in ancient Sumeria. All relate to the annual death and birth of vegetation and plant life on the earth. All depict a magic process that enables the planet after the barren waste of winter to become fertile again.
In Sumeria the goddess Inanna descends to the underworld to rescue her consort Dumuzi. In Babylonia the name of the goddess was Ishtar. Yearly she journeyed down to the underworld to rescue her son-lover from his sleep in the darkness below the earth, and to bring him up into the light. In Egypt the goddess Isis, married to her brother-husband, Osiris, loses him through death at the hands of their brother, Seth. The whole earth is barren until she finds him and brings back together the dismembered pieces of his body.
In Canaan the goddess Anat goes down into the underworld to recover Baal who has been slain by Mot and thus brought the barren curse upon the earth. She kills Mot and scatters him like grain in the fields and the earth becomes fertile again. In Anatolia and Rome the myth of Cybele and Attis was very similar to that of Venus and Adonis. In Greece Adonis, lover of Aphrodite (Venus), is killed by a boar. Adonis is the god of vegetation.
The Annual fertility rites of the death of Adonis included a sacred marriage. One must remember the special interest Bacon had in this story since his first narrative poem dealt with this myth. This sacred marriage is a common feature in these myths, since often it is implied that the sexual union between the reunited gods causes the return to fertility of the earth. Sometimes there is a sacred marriage in the underworld, and a child is born preceding the return of fertility to the earth. Often also the god and the goddess symbolize the sun and the moon. (There is a great deal of information on these myths, and on the fact that the sun and moon is often symbolized by the gods and goddesses of these myths, in the book, "THE MYTH OF THE GODDES-Evolution of an Image" by Anne Baring and Jules Cashford. However, I will say that the state in which the material n this book is scrambled is much more absolute than what I would normally prefer in my breakfast eggs.)
Now it happens (but not accidentally you can be sure) that Bacon has left us his take on the Proserpine myth. In the "Wisdom of the Ancients" he explains Proserpine as symbolizing Spirit. We know at this point that by spirit he refers to the electric fire or electromagnetic forces. Although I can't go into the details here of how the electric and electromagnetic forces are the basis of all vegetative and animal life on earth, I will mention three books in which the reader may pursue this subject further. These are "The Body Electric - Electromagnetism and the Foundation of Life" by Robert O. Becker, M.D., and Gary Selden; "The Fields of Life" by Dr. Harold Saxton Burr; and "Design for Destiny" by Edward W. Russell.) Bacon says of Proserpine that,
"This fable seems to regard natural philosophy, and searches deep into that rich and fruitful virtue and supply in subterraneous bodies, from whence all the things upon the earth's surface spring, and into which they again relapse and return."
In order to understand Bacon's statement about how the supply of the spirit comes from subterranean bodies and returns to them again it is necessary to go into the details of how geomagnetism is generated from subterranean bodies and returns to them again.
The earth is composed of concentric layers like
the bulb of an onion. The center of the earth is 3,956 miles from the
surface. The outermost shell of the earth is the solid crust on which
we live. This crust, no thicker in relation to the earth than an
eggshell in relation to the egg, varies from 25 miles in thickness to
3 miles under the ocean floor.
Beneath the crust is the mantle, which is in two parts. The upper mantle extends downward about 430 miles to where it overlays the lower mantle. The lower mantle goes down to a depth of about 1,800 miles. At this point the core, which again is in two parts, begins. The outer core is composed of molten iron and within it is a solid inner core that begins at a depth of about 3,200 miles. The molten iron of the outer core churns around the solid inner core, acting as a dynamo contributing to the generation of the earth's magnetic field. The earth's rotation and heat propels the molten iron in the outer core.
The difference in rotation speed between the
liquid outer core and the mantle also creates a generator effect that
produces a field similar to that of a coil. As the conducting fluid
flows through the outer core, it interacts with the earth's magnetic
field. The interaction generates an electric current, just as moving
a wire across a magnet creates a current in the wire. Once the
electric current is established, it too generates a magnetic field
that reinforces the earth's field. The earth's magnetic field looks
similar to the field that would emerge from a giant bar magnet
aligned with the earth's axis of rotation. The flow of the earth's
magnetic field follows a curved path that exits near the South Pole,
flows around the earth on an oval path, and enters near the North
Pole only to flow through earth's axis and back out the South Pole
again. So this molten core is the source of the electric force and
magnetic force in the earth, and is as Bacon said, "...that rich and
fruitful virtue and supply in subterraneous bodies, from whence all
things upon the earth's surface spring, and into which they again
relapse and return."
However magnetic field originating inside the earth makes up only about 90 percent of the field observed at the earth's surface. The remainder is caused by currents of charged particles coming from the sun, and by the magnetism of rocks in the crust. In addition, the moon interacts with the sun and with the earth causing certain changes in the earth's magnetic field during the course of its monthly cycle. These changes are reflected in the magnetic fields of humans. Many of these factors seem to have been concealed in the myths and mysteries of which Eleusis is the premiere example.
We, unfortunately, have no descriptions of what Bacon viewed in the earth about him with his paranormal vision. However, we have the account of the experiences of Andrew Jackson Davis, and these must have been quite similar. In "The Magic Staff", Davis says:
"The properties and essences of plants were distinctly visible. Every fibre of the wild flower, or atom of the mountain-violet, was radiant with its own peculiar life. The capillary ramifications of the streamlet-mosses-the fine nerves of the circuts-plant, of the lady's slipper, and of flowering vines-all were laid open to my vision. I saw the living elements and essences flow and play through these simple forms of matter; and in the same manner I saw the many and various tree of the forests, fields, and hills, all filled with life and vitality of different hues and degrees of refinement. It seemed that I could see the locality, properties, qualities, uses, and essences, of every form and species of wild vegetation, that had an existence anywhere in the earth's constitution. The living, vivid beauty and overawing sublimity of this vision I can not even now describe; although, as the reader will see, I have since frequently contemplated scenes far more beautiful and ineffable.
But my vision still flowed on! The broad surface of the earth, for many hundred miles before the sweep of my vision-describing nearly a semicircle-became transparent as the purest water. The deep alluvial and diluvial depositions were distinguishable from the deeper stratifications of stone and earth, by the comparative and superior brilliancy of the ingredients of the former. Earth gave off one particular color, stones another, and minerals still another. When first I discerned a bed of minerals-it was a vein of iron-ore-I remember how I started and shivered with a sensation of fright. IT SEEMED THE EARTH WAS ON FIRE! The instantaneous elimination of electricity, from the entire mass, gave the appearance of a deep-seated furnace under the earth. And my agitation was not lessened by perceiving that these rivers of mineral fire ran under the ocean for hundreds of and yet were not diminished in a single flame-yea, could not be extinguished. Innumerable beds of zinc, copper, silver, limestone, and gold, next arrested my attention; and each like the different organs in the human body, gave off diverse kinds of luminous atmospheres. All these breathing emanations were more or less bright, variegated, and beautiful. Everything had a glory of its own! Crystalline bodies emitted soft, brilliant, azure and crimson emanations. The various salts in the sea sparkled like living gems; sea-plants extended their broad arms, filled with hydrogenous life, and embraced the joy of existence; the deep valleys and dim-lit ravines, through which old ocean unceasingly flows, were peopled with countless minute animals-all permeated and pulsating with the spirit of nature."
This is the vista that Bacon must have witnessed with his paranormal vision. And this is the spirit Bacon describes in his exposition of "Proserpine" in the "Wisdom of the Ancients." Bacon says Ceres symbolized the heavenly bodies, and the torch she carried while searching for Proserpine symbolized the sun, while Prosperpine herself symbolized the spirit shut up and detained within the earth. It seems probable that this spirit (the electric fire or electromagnetic force) is reduced in winter with the effect of the cold and the reduced flow of charged particles from the sun, and seems to retreat below the surface of the earth. Bacon says,
"the spirit diffused through the earth lives above ground in the vegetable world during the summer months, but in the winter returns under ground again."
He also says the sun,
"if the thing were possible, must have the greatest share in recovering Proserpine, or reinstating the subterraneal spirit."
Apparently with his paranormal vision Bacon could also see the subtle energies that come to the earth from heavenly bodies. He said,
"The attempt of Theseus and Perithous to bring Proserpine away, denotes that the more subtile spirits, which descend in many bodies to the earth, may frequently be unable to drink in, unite with themselves, and carry off the subterraneous spirit, but on the contrary be coagulated by it, and rise no more, so as to increase the inhabitants and add to the dominion of Proserpine."
In addition to knowledge about the cycle of the soul, and the annual fertility cycle of the planet, Eleusis had knowledge about the electric and electromagnetic forces, and in its rituals summoned angelic entities that shared the mystical experience with the initiates.
The Mysteries at Eleusis united the major themes that Bacon wanted in the First Folio. Therefore he gave Eleusis a major role in his whole design. It is certain that electric and electromagnetic forces played a large part in the Mysteries at Eleusis. Claudian closes his introduction in his Idyls on the magnet with the representation of a temple-service, in which a magnetic image of Venus was held suspended in the air by an iron one of Mars.
Lucian speaks of a very ancient statue of Apollo of the Daedalian age that was lifted aloft by the priests, and stood suspended in the air, unsupported by the hand of the priests. At Eleusis at the climax of the drama a statue of Kore ascended in the air and hovered suspended without any support.
In his, "De Natura Deorum", Cicero said that "those occult Mysteries.when interpreted and explained have more to do with natural science than with theology." According to Strabo the ancients concealed their views of nature in enigmas, and wrapped their scientific observations in myths. The earliest Homeric allegorizer, the pre-Socratic Theagines of Rhegium, explained the quarrel of the gods in the twentieth book of the Illiad as a lesson in physics. These ideas have been called the "physical school" of the interpretation of ancient myths. Bacon's ideas about the ancient showed that He either belonged to the "physical school" of the interpretation of ancient myths, or that those he was interested in contained this type of data.
Bacon symbolizes these things throughout the First Folio. In "Much Ado About Nothing" he symbolizes the philosophical "Nothing" from which everything was created. In "Measure for Measure" he shows the work of God as creating symmetry between the dissonant elements in His Creation. The relation between the sun and the moon that was symbolized in many of these myths was analogous to the myth of Ceres and Perserpine at Eleusis. We have seen how Bacon interpreted Ceres as representing the heavenly bodies, and her torch as representing the sun. Hecate, or the moon, also played an important part in this myth. In my essay on Romeo and Juliet I have shown how this play symbolizes the relation between the sun and the moon. In my essay on "Anthony and Cleopatra" I have shown how in this play Bacon symbolizes the relationship between Mars and Venus.
"Macbeth" depicts that symbolization of the influence and effect of the moon that played such a large role in so many of those ancient myths. The metaphysical allegory in Macbeth deals with evil. The allegory points to cyclical influences. It begins with Macbeth taking the head of the Thane of Cawdor, and ends with Macduff taking the head of Macbeth, giving a cyclical sense to the drama. Hecate, mistress of the witches, increases this sense. Hecate symbolizes the three phrases of the moon, indicating the lunar influence.
At the end of the play Macbeth is defeated through the stratagem of the soldiers of Macduff each carrying a green bough from the wood of Birnam to disguise them as they advance toward Dunsinane. In the annual cyclical ritual of the May festival young men went out into the wood and returned carrying a green bough. Evil is defeated by a stratagem that is actually a cyclical ritual. So here is another cyclical allusion. Evil in Macbeth is, in fact, produced by extraterrestrial influences, and is cyclical like seasonal influences. What does it all mean?
It is a common knowledge that the gods and goddesses of the Greeks and Romans were actually the planets. Their names alone demonstrate this: Mars, Venus, Jupiter, Uranus, etc. Hecate personifies the moon in its evil aspects. Hecate is also the ultimate source of the evil in the play. The association of the moon with evil is well known. Many seasoned police officers have learned through experience to expect an increase of crime at every full moon.
Bacon always spoke with absolute certainty regarding the existence of what he referred to as the "spirits" which were possessed by all living creatures. He went into detail about how these spirits played like a living flame about the body of living creatures. Bacon was familiar with the electromagnetic fields around the human body because he could actually see them. He must have carefully noted the changes in the fields of human beings throughout the different seasons of the year. And he must have collated these changes with the different phases of the moon, and arrived at conclusions regarding the malignant influence of the moon. In Macbeth, Bacon wanted to symbolize the malignant effect of the moon on the threefold composition of the human being. The three "weyward sisters" met his allegorical needs perfectly.
In "Bacon Shakespeare and the Rosicrucians", W.F.C. Wigston, always insightful, notes a curious symbolism in "All's Well that Ends Well." There are two main characters Helena and Bertram who although married (i.e. joined together) are in opposition to each other. Bertram is attended by a character called Parolles (a name that means words). Parolles proves to be false and misleading, possessing exactly the qualities that Bacon attributed to words in his Advancement of Learning. Another character named Le Feu (a name that means FIRE) detects and exposes Parolles, thus revealing the truth. The whole play symbolizes the FIRE of the Rosicrucians, the electric or electromagnetic force inUniversal Nature with the relation of the two opposites that exist within this force. In a "Midsummer's Night's Dream "(See my essay) the cosmological process of the creation is symbolized, and again FIRE plays a significant role. "The Merchant of Venice" depicts the panorama of opposing forces in Universal Nature from the Kabbalistic viewpoint.
In "The Tempest" the good old counselor Gonzalo says if he had rulership of the island (i.e. the world) he would by contraries execute all things. And this drama of strife and friendship, of the union and repulsion of bodies, of the junction of actives and passive is repeated in intricate detail all through the plays in the relation of the male and female characters.
But there is a deeper mystery at the heart of the First Folio: this mirror of universal nature, this model of the world created by that fantastic being, Francis Bacon. The secret has remained veiled from prying eyes for over 400 years. It is the secret of the distillation of summer; of the magic that keeps beauty's rose still alive: the secret of the fertility principle of universal nature. The Rose is the miracle of Increase, the flower that is produced from applying actives to passives when, "these two dissonant branches or confusion of unities" are at last, "reduced or return again into one harmonious Unity." In his book, "CODEX ROSAE CRUCIS" Manly Palmer Hall shows the "original symbol of the Rosicrucians", from Fludd's "Summum Bonam", -a Rose crucified upon a calvary of three steps. The flower that grows when the confusion of unities returns to a harmonious unity is the Rosicurcian Rose. The idea of this Rose is expressed everywhere in the sonnets.
When the sonnets were first printed in 1609 they were titled "SHAKE-SPEARES SONNETS." The First Folio of 1623 began with six pages of dedications, composed of both prose and verses. In all of these, except the very last page whenever the author is referred to the name Shakespeare is used. However, on the very last page there are two verses, first the verse by L. Digges, and next a short verse by I.M. Digges begins his verse
"to the memories of the deceafed Author Maifter W. Shakespeare",
but then, three times within the body of the verse he uses the name, and each time it is spelled, "Shake- speare." I.M. begins his verse to the memory of "M.W.Shake-speare" and within the verse he uses the name one time spelling it "Shake-fpeare." What these people were all doing were showing that the inspiration behind the works was Pallas AthenA. The title "SHAKE-SPEARES SONNETS" is all the same as if they had been labeled, "Pallas AthenA' s Sonnets." The sonnets begin on the first page with one of the variants of the light "A", dark "A" emblem at the top. Sonnet 38 shows that they are both addressed to, and written to Pallas Athena:
"Be thou the tenth Muse, ten times more in worth Than those old nine which rhymers invocate;" (Sonnet 38)
But while addressed to Pallas Athena, as the source that inspired them, they have to do altogether with the subject of love in all its forms. And love, in its essence, is The Rose.
Not just any rose, but the rose that is the distillation of summer, the essence of all the life on earth. The very first sonnet says:
"From fairest creatures we desire increase
That thereby beauty's ROSE might never die,"
And the poet says he draws his image of the Rose not only from all of Universal Nature, but even uses heaven itself for ornament (sonnet 21):
"So is it not with me as with that Muse,
Stirred by a painted beauty to his verse,
Who heaven itself for ornament doth use,
And every fair with fair doth rehearse,
Making a couplement of proud compare
With sun and moon, with earth and sea's rich gems,
With April's first-born flowers, and all things rare
That heaven's air in this huge rondure hems."
And He emphasizes this in sonnet 109:
"For nothing this wide universe I call
Save thou, my rose; in it thou art my all."
The First Folio symbolizes the entire realm of Universal Nature, even going down to the sub-atomic level. The Rose of the sonnets there also, and this is the heart of his mystery. John Vyvyan had two books that are very interesting along these lines. The first was titled "SHAKESPEARE and the Rose of Love", and the second, "Shakespeare and Platonic Beauty." Vyvyan shows that the plays are involved throughout with the theme of love, of which the great symbol is The Rose. He says the five-act structure used in the plays was derived mainly from the plays of Terence and was ideally suited for the poet's purpose. What occurs over and over in the plays, as Vyvyan explains, is that LOVE is the primary force. Then we see the presence of some opposing force. The dissonance between these two creates the drama. In the end the dissonance is resolved. A harmony and unity is effected, and LOVE triumphs.
The woman who wrote me about her experience in relation to reading The Tempest said that in the midst of her paranormal experience she suddenly had a flash of insight, "There was something that had gone wrong in the relationship between men and women." Her take on The Tempest was that it was designed around the central and most important theme of The Sacred Marriage. No doubt she was right. Dante painted Beatrice as a replica in miniature of the Great Rose, and, when He referred to her as a marvel desired in heaven he was echoing the well known carol of his day:
"For in this rose contained was
Heavene and erthe in litel space.
"Res Miranda, thing wonderful, or admirable", in The Tempest the name of the Rose was Miranda. But the basis of the manifestation of this Rose of Love goes to the very principle which is the basis of all vegetation and animal life on earth-the electric and electromagnetic forces called by Fludd, "Fiery Love", or God. This is what Mary Ann South refers to when she says, "The Universal Spirit is in one form the Principle of all growth." And in another place she adds, "The perpendicular line is the Divine line in all things; the transverse line is the contrary; the two united form a cross..The fire of life in us is capable of burning erect, it becomes a magnet! Wonderful! If, in us, the Divine line was stronger than the transverse one, we should no longer be in sense."
What keeps the Rosicrucian Rose from blooming is the dissonance of the opposing forces of hate, anger, discord, and so on. Suffering can burn away this dissonance. This releases then the universal life spirit of "fiery love" within and brings about the blossoming of the Rose. One of the "War Letters From The Living Dead Man" expresses the need to feel and feels until the very force of feeling lifts you to the higher life. He says:
"You are familiar with the symbol of the Rose-Cross. Not until the hard wood is driven through your four limbs, in the pain of your shocked and wounded nerves, can the great red rose of love unfold its perfumed petals upon your breast, between the arms of the cross.
The human in you is the pain of the cross, the divine in you is the perfume of the rose, and you, yourself, you human and divine, are the Rose-Cross...On the awful cross of war shall blossom the red rose of the new race. On the cross of each mortal form may blossom its red rose."
So we see in King Lear when all the dissonances of self-pride, of self-will, of his royal vanities are burned away, the ROSE of love blossoms. Lear, who had thought only of himself before, says:
"How dost, my boy? Art Cold?"
"In, boy; go first,-You houseless poverty-
Nay, get thee in. I'll pray, and then I'll sleep.
Poor naked wretches, wheresoe'er you are,
That bide the pelting of this pitiless storm,
How shall your houseless heads and unfed sides,
Your loop'd and window'd raggedness, defend you
From seasons such as these? O, I have ta'en
Too little care of this!"
At first some remnants of the royal nature of Lear resist:
"No, do thy worst, blind Cupid; I'll not love"
But then when all is burned away the ROSE of love blossoms in him and he see the common bond of all:
"None does offend, none-I say none; I'll able them."
The lyrics of Amanda McBroom's song expresses the thing very well:
"Just remember in the winter
Far beneath the bitter snows
Lies the seed, that with the sun's love,
In the spring becomes THE ROSE."
And this is the whole point. This is what it's all about, Alfie.
see The Shakespeare-Bacon Essays of Mather Walker
SirBacon.org - Sir Francis Bacon's New Advancement of Learning