Francis Bacon's Private Manuscript Notebook (Known as the Promus of Formularies and Elegancies) The Source of Several Hundred Resemblances, Correspondences and Parallels Found Throughout his Shakespeare Poems and Plays by A. Phoenix
The Bacon-Shakepeare Manuscript by A. Phoenix
Francis Bacon and the so-called Dering Manuscript of Henry IV, the unique and earliest known manuscript of a Shakespeare play: or the Holy Grail of Shakespeare Scholarship a Shakespeare Manuscript by A. Phoenix
The Folger Library A Secret Baconian-Rosicrucian-Freemasonic institution by A. Phoenix
The Fraudulent Friedmans: The Bacon Ciphers in the Shakespeare Works by A. Phoenix
Francis & Anthony Bacon & The Merchant of Venice by A. Phoenix
Francis Bacon & The Law In His Early Shakespeare Plays Reflected In His Life & Writings by A. Phoenix
Did Francis Bacon die in 1626 or Feign his Death with the help of his Rosicrucian Freemasonry Brotherhood? by A. Phoenix
Synopsis
Following his fall from grace which was one of the greatest political betrayals in English history, in order that King James could save the favourite George Villiers, Duke of Buckingham, and so that he could save himself, Francis Bacon spent the last five years of his recorded life writing, revising and translating his works for publication with the help of his good pens among them Ben Jonson and George Herbert. During the last year of his life the health of James I was steadily deteriorating and he was rarely able to visit London, while the favourite Buckingham who had sacrificed Bacon and in his distress extorted York House from him, took the opportunity to extend his influence over the heir to the throne, Prince Charles. On 27 March 1625 King James died at Theobalds with Buckingham at his bedside. These are the simple facts known to general history. Following the succession there was no return to favour for Bacon or any offer of a position in the new regime or government and the two of them Charles I and Buckingham believed they could jointly rule without the need or advice of the kingdom’s greatest and wisest statesman. He knew better than anyone and had first-hand experience of the behaviour of monarchs towards those they perceived as a threat or had fallen out of favour.
In the weeks and months leading up to Bacon’s supposed death a certain George Eglisham’s, one of King James’s physicians, was busy writing an explosive pamphlet entitled The Forerunner of Revenge which when published caused a sensation and had very far reaching consequences for Charles I and the favourite Buckingham. In the pamphlet Eglisham directly accused Buckingham of poisoning and murdering his lover and royal master James I as well as other members of the nobility including the Earl of Southampton to whom Bacon had dedicated his Shakespeare poems Venus and Adonis and The Rape of Lucrece. There were also many who believed that King Charles had been complicit in the murder of his father King James and Bacon too feared King Charles would try to kill him. The great philosopher died to the profane world on Easter Sunday 9 April 1626 and on 8 May the most reviled and hated man in the kingdom Buckingham was impeached by the House of Lords on charges relating to causing evils affecting the state, bribery and corruption on a colossal scale, and the murder of King James. The decision by King Charles not to allow Buckingham’s impeachment to proceed to trial by dissolving parliament at the cost of a much needed subsidy bill led more to believe or strongly suspect he was complicit with Buckingham in the foul act of killing a king, the very progenitor of his own royal blood. These events eventually led to the assassination of Buckingham in 1628 and helped set in train the state execution of Charles I and the English Civil War.
In the meantime hidden to mainstream history for four hundred years Bacon having feigned his own death with the help of his Rosicrucian-Freemasonry Brotherhood apparently quietly slipped off to the continent, perhaps travelling first to France and moving on to The Hague in the Netherlands, before eventually spending many years in Germany with Johann Valentin Andreae living to a very old age.
Evidence for his second life includes textual evidence involving indications he did not die in 1626 (‘He is gone, he is gone: it suffices for my woe to have uttered this: I have not said he is dead’), etc. Letters, one written in his prose including the phrase ‘when I was alive’, another letter written by Sir Thomas Meautys to Bacon dating from 11 October 1631, proving he was still very much alive five years after his supposed death in 1626, as stated in every single orthodox biography to the present day. There is also a good deal of evidence supporting that Bacon was responsible for producing, revising and enlarging his own works, and for his direct involvement in writings published in the name of others, post 1626. He also wrote the little known poem ‘On Worthy Master William Shakespeare’ prefixed to the 1632 Second Shakespeare Folio and was responsible for 1,679 changes in what was an attempt to clarify and correct the text including hundreds of alterations in grammar, changes pertaining to the action, and amendments and revisions, affecting metre and style. There is also evidence for his involvement in the publication of the first English translation of the Rosicrucian manifestos the Fama and Confessio (1652) and the publication of the unique version of his New Atlantis known as The Land of the Rosicrucians (1662). This is all supported by extensive cryptographic evidence, RosicrucianFreemasonic frontispieces, portraits and engravings, including a portrait with the initials ‘F. B.’ prominently displayed in it depicting Francis Bacon as a very old man. He was born in secrecy and died in secrecy all of which is known to the select elite of his present day Rosicrucian-Freemasonry Brotherhood who will eventually disclose to the world where Bacon truly died and where he is actually buried, that he is the true author of the Shakespeare works, as well as other secrets about his life and writings. The full truth will truly stagger humankind.
Did Francis Bacon die in 1626 or Feign his Death with the help of his Rosicrucian Freemasonry Brotherhood? Link to PDF »
Bacon is Shakespeare, The Jaggard Connection by A. Phoenix
Synopsis
For the last four centuries the authoritative Bacon and Shakespeare editors and biographers have systematically suppressed the truth about the relationship between Francis Bacon and the Jaggards, printers and publishers of his Essays and the First Folio of the Shakespeare works. It surely does not need to be said that if somebody is suppressing the full facts and truth from us, and in this instance the rest of the world also, that they are concealing and hiding something. And if we just consider for a single moment the all-encompassing lengths required for this kind of concealment one which has been very carefully maintained over a period of four hundred years, it follows that the commensurate enormity and implications of the secret must be of monumental proportions. A secret is always bound up in its concealment. Thus if what is being withheld from us is the secret relationship between Francis Bacon and the Jaggards the printers and publishers of the Shakespeare First Folio, it is likely to be (and in this case is) that the Folio was printed and published for Francis Bacon by the Jaggards, with whom, which is here revealed for the first time, he had a hidden and obscured relationship over a period of some four decades.
In the second half of the twentieth century the American scholar Charlton Hinman subjected the printing of the First Folio to a forensic technical study in The Printing and Proof-Reading of the First Folio of Shakespeare (Oxford Clarendon Press) based on an investigation of some eighty copies in the Folger Shakespeare Library in Washington. Like most large standard works it remains largely unread from cover to cover and some of its contents remain effectively hidden and unknown to the world. In this work he draws attention to a unique copy of the Shakespeare First Folio with a unique upside down ‘B’ on the first page of the first play The Tempest as well as a defective ‘S’ of ‘Actus primus, Scena prima’ and the mis-signed signature ‘B’ at the bottom of the page: about which he says Baconians will perhaps find meanings in the broken ‘S’ and in the two ‘B’s ‘that invite such particular attention in the earliest state of page A1.)’. Yet remarkably Professor Hinman does not directly say or explain what meaning Baconians might find in these peculiarities, which is also revealed here for the first time.
The upside down positioning of the ornamental letter ‘B’ is unique to one copy of the Folio, however the same ornamental ‘B’ appears in all other copies but the correct way round. If the large ornamental B is magnified it reveals the name Francis Bacon hidden in the decorative scroll with the name Francis across the top and at the bottom and the name Bacon down the right side. This explosive and decisive evidence completely demolishes the illusion William Shakspere was responsible for the Shakespeare works, a fiction first presented to the world nearly four hundred years ago with the publication of the First Folio, printed in the Jaggard printing shop by William and Isaac Jaggard in 1623.
Bacon is Shakespeare, The Jaggard Connection - Link to PDF »
Measure for Measure by A. Phoenix
Synopsis
One of the less familiar dramas in the Shakespeare canon Measure for Measure has at its heart the God-like Rosicrucian figure of Duke Vincentio one akin to Prospero in The Tempest described by Dr Yates as a Rosicrucian manifesto. The role of the Duke is one of the longest roles in the Shakespeare canon. He is seen by many Shakespeare scholars as a surrogate of the dramatist himself with the joint Arden editors of Measure for Measure correctly maintaining that its author ‘sets up the correspondences between himself and the duke…extensively’, and that, Measure for Measure ‘persistently hints that the Duke is a playwright made in Shakespeare’s image’. Or put another way the secretive, complex and enigmatic character of Duke Vincentio, who adopts multiple masks, disguises and identities in Measure for Measure represents Shakespeare, that is to say, the true author of the play, who himself outside of the play itself, also adopts multiple identities and disguises behind his various literary living masks including the pseudonym of Shakespeare. The Duke is a complex dramatic portrait of his creator Francis Bacon, the supreme head of the Rosicrucian-Freemasonry Brotherhood, with the Duke in the play watching over Vienna just like Bacon, reflected in his Rosicrucian utopia New Atlantis, watches over the world and the future of mankind. In the play the Duke seeks to build a new, fair, and just society one based upon love just as Bacon with his Rosicrucian Brotherhood set in motion a plan for A Universal Reformation of the Whole World.
The intertwined themes of law and justice, sex and death, and the Rosicrucian-Freemasonry Brotherhood that are threaded all the way through Measure for Measure are mirrored and reflected in more than twenty of Bacon’s acknowledged writings and works, among them: unpublished manuscripts, private letters and speeches; his Meditationes Sacrae , Of Colours of Good and Evil, various essays including Of Judicature, Of Seditions and Troubles, and Of Death, one of the central themes of the play; as well as An Inquiry Concerning the Ways of Death and The History of Life and Death; the Gesta Grayorum and other dramatic devices; religious and political tracts including A Confession of Faith and A Brief Discourse Touching the Happy Union of the Kingdom of England and Scotland; his major philosophical and scientific treatises The Advancement of Learning, Novum Organum and De Augmentis Scientiarum ; and several of his obscure or relatively unknown and unread legal treatises A Proclamation Touching the Marches, The Charge of Owen Indicted for High Treason, A Proposition Touching the Compiling and Amendments of Law, and Touching the Office of Constable; as well as his Rosicrucian utopia New Atlantis (or, The Land of the Rosicrucians) and the first Rosicrucian manifesto the Fama Fraternitatis.
Measure for Measure - Link to PDF »
Francis Bacon's Hamlet, A Tudor Family Tragedy by A. Phoenix
Synopsis: Francis Bacon and his earliest Shakespeare play Hamlet A Tudor Family Tradegy.
The Tragedy of Hamlet shadows the most explosive and sensational secrets of the Elizabethan reign in which the not so Virgin Queen Elizabeth was secretly married to Robert Dudley, Earl of Leicester with whom she had two concealed royal princes Francis Tudor Bacon and Robert Tudor Devereux. It tells the tale of its author a disinherited royal prince Francis Tudor Bacon in the shape of Hamlet who is denied his rightful kingship by his mother Queen Elizabeth and the exhaustion and death of the royal Tudor dynasty.
Behind its dramatis personae lies the leading figures of the Elizabethan period: Francis Bacon Tudor concealed Prince of Wales (Prince Hamlet), Queen Elizabeth Tudor (Queen Gertrude) and her secret husband Robert Dudley, Earl of Leicester (King Claudius), Robert Tudor Devereux, the second Earl of Essex (Laertes), Sir Nicholas Bacon (the Ghost of Old Hamlet) and Sir William Cecil (Polonius).
It is a story of a lustful Queen Elizabeth and the notorious poisoner and murderer Robert Dudley, Earl of Leicester and the strange death possibly through poisoning by Leicester of Sir Nicholas Bacon. It is a play that is all about revenge, murder and death, with poisonings of Old Hamlet, King Claudius, Queen Gertrude, Laertes and Hamlet himself, and by other means, the deaths of Polonius, Ophelia, and the two state spies, Rosencrantz and Guildenstern.
Interspersed throughout the whole of the dissertation of the telling of this royal Tudor tragedy are lines, sentences and passages identical in thought and similar in expression, providing resemblances, correspondences and parallels from more than thirty of Bacon’s writings and works, among them: unpublished manuscripts, private letters and speeches; various essays including Of Revenge and Of Death, the two central themes of the play; as well as An Inquiry Concerning the Ways of Death and The History of Life and Death; short occasional pieces Physiological Remains and Short Notes for Civil Conversation; political works A Brief Discourse Touching the Happy Union of the Kingdom of England and Scotland and The Case of the Post-Nati of Scotland as well as the state sanctioned A Declaration of the Practices and Treasons of the Earl of Essex; his major philosophical and scientific treatises The Advancement of Learning, The Wisdom of the Ancients, Novum Organum, De Augmentis Scientiarum and Sylva Sylvarum; and several of his obscure or relatively unknown and unread legal treatises A Discourse upon the Commission of Bridewell, The Argument in Lowe’s Case of Tenures, The Charge of Owen Indicted for High Treason, The Reading Upon the Statues of Uses, The Maxims of the Common Law and The Ordinances made by Lord Chancellor Bacon in Chancery.
This and other evidence emphatically demonstrates beyond any reasonable doubt Francis Bacon’s authorship of the earliest and greatest Shakespeare Tudor Tragedy in the history of world literature.
Taming of the Shrew and the Cambridge Manuscript by A. Phoenix.
Like Will to Like
For those unable to immediately read the paper you might wish to turn to P79-80 for the anagram of F.Bacon in the first six lines of Like Will to Like
It is revealed here for the first time in the academic research paper and accompanying video that Francis Bacon wrote the play Like Will to Like when he was seven years old. This morality play is about good and evil and its central character is Newfangle the Vice. The dichotomy of good and evil or the colours of good and evil was later written large across the much more expansive canvass of his Shakespeare poems and plays and as pointed out by orthodox editors and scholars the figure of the Vice is refracted through various Shakespeare villains and characters i.e. Lucrece, Aaron the Moor in Titus Andronicus, Richard III, Don John in Much Ado About Nothing, Iago in Othello, etc, etc.
From his early days until his last the subject of good and evil profoundly engaged his vast intellect. Over the period of his lifetime Bacon assembled a very large number of what he calls ‘Semblances or popularities of good and evill with their regulations for deliberacions’ in his Promus of Formularies and Elegancies (his private note-book) in which he jotted down thoughts and phrases some of which he later used in his acknowledged writings and his Shakespeare poems and plays. In the Promus there are around a hundred of his collection of colours of good and evil presented without any explanation indicating Bacon intended to publish a substantial treatise on the subject. However the first published version entitled Of the Colours of Good and Evil and A Fragment printed in the first edition of his Essays includes only ten from the hundred in the Promus.
When towards the end of his recorded life Bacon revised and greatly enlarged the Advancement for its Latin translation De Augmentis Scientiarum he reprinted the original fragment of the Colours of Good and Evil printed in the first edition of his Essays to which he added a further two colours. After the twelfth and final colour of good and evil he makes an astonishing admission:
‘I have by me indeed a great many more Sophisms [Colours of Good and Evil of the same kind, which I collected in my youth’.
And in the closing song of Twelfth Night or What You Will Bacon reveals that when he was a young boy, he wrote the morality play Like Will to Like (see pp. 104-7)
See text 'Like Will to Like'
Francis Bacon Secret Author of the Shakespeare Works
Francis Bacon Secret Author of the Shakespeare Works
Francis Bacon and his first unacknowledged Shakespeare play 'The Misfortunes of Arthur' and its extensive links to a whole range of his other Shakespeare plays.
By A Phoenix
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The Pregnancy Portrait of Queen Elizabeth and the Secret Royal Birth of Francis Bacon, Concealed Author of the Shakespeare Works.
By A Phoenix
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Francis Bacon was known to his circle, i.e. the nobility and certain university intellectuals, as a ‘concealed poet’. He also described himself as such. A significant proportion of English literature appearing in print before the 17th century was published anonymously or pseudonymously. “Anonymity was of course common form with an aristocratic author”, as the prominent orthodox Shakespeare scholar, A.L.Rowse said in his William Shakespeare (1963).
Also known is that some authors borrowed the identity of another writer or figure to divert suspicion away from themselves. One of Bacon’s contemporaries, the Cambridge graduate Robert Greene, spoke about this in his Farewell to Folly (1591) as follows:
Others… if they come or write or publish anything in print, it is either distilled out of ballets [ballads] or borrowed of theological poets which for their calling and gravity being loth to have any prophane pamphlets pass under their hand, get some other Batillus to set his name to their verses. Thus is the ass made proud by this underhand brokery.
There is a lot of information in this excerpt. Nigel Cockburn comments “Batillus was a minor poet in the reign of Augustus Caesar”. But what he doesn’t point out is that the ‘ass’ was traditionally associated, in ages more steeped in the New Testament, with the donkey that bore Jesus into Jerusalem on Palm Sunday and experienced the ovation alongside Jesus. In other words, Greene’s rather snobbish image tells us that a lowly creature may share, absurdly, in the acclaim merited by the person he ‘bears’. Clearly if this applies to Bacon and Shakespeare, Shakespeare would have been the ‘Batillus’, the ass who bore Bacon.
Selection of evidence
The clearest of the several proofs of Bacon’s concealment come both from his own testimony and that of others:
1. Bacon’s letter to Sir John Davies (28th March 1603) was written to ask Davies, a friend of Bacon, to speak well of him to James 1, newly appointed to the throne of England. The letter finishes “so desiring you to be good to all concealed poets, I contine, your very assured Fr. Bacon”. Davies was a respected poet of the Elizabethan age, and the letter evidently reads as an appeal from one poet to another, on an equal footing.
2. Stow’s Annals (1615) which mentions Sir Francis Bacon in the lofty company of Edmund Spenser, Sir Philip Sidney and ‘Willi Shakespeare’. Written in 1615 when both Bacon and Shakespeare were still alive, this is particularly important proof, since it regards Bacon and Shakespeare as distinct, yet poetically on a par. Therefore, no biased view of the authorship question is influencing the view of Bacon as a poet.
3. Edmund Waller’s Poems (1645) defends poetry, on the grounds that notables like Sir Philip Sidney and Sir Francis Bacon practised it.