Project Gutenberg's The Shakespeare Myth, by Edwin Durning-Lawrence This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: The Shakespeare Myth Author: Edwin Durning-Lawrence Release Date: November 22, 2014 [EBook #47425] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK THE SHAKESPEARE MYTH *** Produced by David Widger from page images generously provided by the Internet Archive
* Note.—The scene of the play is Navarre and one of the
characters is Biron. A passport given to Bacon's brother
Anthony in 1586 from the court of Navarre, is signed
"Biron." (British Museum Add. MS. 4125).
** Note.—This has a new title and a Prologue in the Folio.
This extremely learned play which we are told was『never
clapper-clawd with the palmes of the vulger.... or sullied
with the smoaky breath of the multitude,』has recently been
shewn by Mrs. Hinton Stewart to be a satire upon the court
of King James I.
* Note.—The above very strongly confirms Mrs. Gallup's
reading of the Cypher, viz.: that there are twenty-two new
plays in the Folio. The Tempest, with Timon of Athens and
Henry VIII., seems to be largely concerned with the story of
Bacon's fall from his high offices in 1621, and Emile
Montégut, writing in the "Revue des Deux Mondes" of August,
1865, says that the Tempest is evidently the author's
literary testament.
Stratford, to which Shakespeare was sent in 1597, was at that period much
farther from London for all practical purposes than Canada is to-day, and
Shakespeare did not go there for week ends, but he permanently resided
there, only very occasionally visiting London, when he lodged at Silver
Street with a hairdresser named Mountjoy.
It is exceedingly important and informing to remember that Shakespeare's
name never appeared upon any play until he had been permanently sent away
from London, and that his wealth was simply the money—£1,000—given
to him in order to induce him to incur the risk entailed by allowing his
name to appear upon the plays. Such risk was by no means inconsiderable,
because Queen Elizabeth was determined to punish the author of Richard the
Second, a play which greatly incensed her; she is reported to have said,
"Seest thou not that I am Richard the Second?" There is no evidence that
Shakespeare ever earned so much as ten shillings in any one week while he
lived in London.
At Stratford, Shakespeare sold corn, malt, etc., and lent small sums of
money, and indeed, was nothing more than a petty tradesman, a fact of
which we are quite clearly informed in﹃The Great Assises holden at
Parnassus,﹄printed in 1645, where Bacon is put as﹃Chancellor of
Parnassus,﹄i.e., greatest of the world's poets, and Shakespeare appears
as "the writer of weekly accounts." This means that the only literature
for which Shakespeare was responsible consisted of his small tradesman's
accounts sent out weekly by his clerk; because, as will be shewn
presently, Shakespeare was totally unable to write a single letter of
his own name.
Let us now return to the Folio of Shakespeare's plays, published in 1623.
On the title page appears a large half-length figure drawn by Martin
Droeshout, which is known as the Authentic (i.e., the authorised) portrait
of Shakespeare. Martin Droeshout, I should perhaps mention, is scarcely
likely to have ever seen Shakespeare, as he was only 15 years of age when
Shakespeare died. On the cover of this pamphlet will be found a reduced
facsimile of the title page of the Folio of 1623. It is almost
inconceivable that people with eyes to see should have looked at this
so-called portrait for 287 years without perceiving that it consists of a
ridiculous, "putty-faced mask," fixed upon a stuffed dummy clothed in a
trick coat. *
* Note.—This stuffed dummy is surmounted by a mask with an
ear attached to it not in the least resembling any possible
human ear, because, instead of being hollowed, it is rounded
out something like the back side of a shoehorn, so as to
form a sort of cup to cover and conceal any real ear that
might be behind it.
The "Tailor and Cutter" newspaper, in its issue of 9th March, 1911, stated
that the figure, put for Shakespeare, in the 1623 Folio, was undoubtedly
clothed in an impossible coat composed of the back and the front of the
same left arm. And in the following April the﹃Gentleman's Tailor
Magazine,﹄under the heading of a "Problem for the Trade," prints the two
halves of the coat put tailor fashion, shoulder to shoulder, as shewn here
on page 2, and says:—
"It is passing strange that something like three centuries should have
been allowed to elapse before the tailor's handiwork should have been
appealed to in this particular manner.
"The special point is that in what is known as the authentic portrait of
William Shakespeare, which appears in the Celebrated first Folio edition,
published in 1623, a remarkable sartorial puzzle is apparent.
"The tunic, coat, or whatever the garment may have been called at the
time, is so strangely illustrated that the right-hand side of the forepart
is obviously the left-hand side of the back part; and so gives a harlequin
appearance to the figure, which it is not unnatural to assume was
intentional, and done with express object and purpose.
"Anyhow, it is pretty safe to say that if a Referendum of the trade was
taken on the question whether the two illustrations shown above [exactly
as our illustration on page 2] represent the foreparts of the same
garment, the polling would give an unanimous vote in the negative."
Facing the title page of the 1623 first Folio of the plays, on which the
stuffed and masked dummy appears, is the following description (of which I
give a photo-facsimile), which, as it is signed B. I., is usually ascribed
to Ben Jonson:—
To the Reader.
This Figure, that thou here seest pur,
It was for gentle Shackspeare cut;
Wherein the Grauer had a strife
with Nature, to out-doo the life:
O, could he but haue drawne his wit
As well in brasse, as he hath hit
His face, the Print would then surpasse
All, that was cuer writ in brasse.
But, since he cannot, Reader, lookc
Not on his Picture, but his Booke.
B.I.=
* Note.—The following story, related by Ben Jonson himself,
shows how necessary it was for Bacon to conceal his identity
behind various' masks:—"He [Ben Jonson] was dilated by Sir
James Murray to the King, for writing something against the
Scots, in a play Eastward Hoe, and voluntarly imprissonned
himself with Chapman and Marston who had written it amongst
them. The report, was that they should then [have] had their
ears cut and noses. After their delivery, he banqueted all
his friends; there was Camden, Selden, and others; at the
midst of the feast his old Mother dranke to him, and shew
him a paper which she had (if the sentence had taken
execution) to have mixed in the prisson among his drinke,
which was full of lustie strong poison, and that she was no
churle, she told, she was minded first to have drunk of it
herself." This was in 1605, and it is a strange and grim
illustration of the dangers that beset men in the Highway of
Letters.
With respect to Bacon's remarkable reference to foreign nations, we must
remember that the title pages here shown and numerous other striking
revelations of his authorship of the plays were never printed or published
in England, but appear only in editions printed in foreign countries. I
will once more repeat that the title page of the "De Augmentis" clearly
tells us that Bacon has secretly with his "left hand" placed his great
work, the "Immortal plays," "the Mirror up to Nature," in the hands of a
mean actor, and that the title page of "Henry VII." repeats the same
"lefthanded" story, and tells us that, while the history of Henry VII. is
written in prose in Bacon's own name, his other histories of the﹃Kings of
England﹄are set forth at the Globe Theatre by the Shakespeare actor,
concealed behind whom Bacon stands secure. In other words, that Bacon's
other histories of England will be found in the plays to which is attached
the name of his pseudonym, the doubly "lefthanded" and masked dummy,
"William Shakespeare."
* Note.—In the folio Ac-cusativo king, hang, hog are in
italics as here printed.
Qu. Hang-hog, is latten for Bacon, I warrant you.
Observe that "Bacon" is spelled with a capital "B," and also note that in
this way we are told quite clearly that Hang-hog means Bacon. In very
numerous instances a hog with a halter (a rope with a slip-knot) round its
neck appears as part of some engraving in some book to which Bacon's name
has not yet been publicly attached. I shall again refer to "Hang-hog" as
we proceed.
Next, let us carefully examine
The Second Page 53
in the Folio of the Plays, which in the first column contains the
commencement of the first scene of the second act of the first part of
"King Henry the Fourth." Two carriers are conversing, and we read:—
1Car. What Ostler, come away, and be hangd; come away.
2Car. I have a Gammon of Bacon, and two razes of Ginger, to be
delivered as farre as Charing-crosse.
Observe that gammon is spelled with a capital "G," and Bacon also is
spelled with a capital "B." Thus we have found Bacon in the second page
53. But I must not forget to inform my readers that this second page 53 is
really and evidently of set purpose falsely numbered 53, because page 46
is immediately followed by 49, there being no page numbered 47 or 48 in
the Histories, the second part of the Plays.
Having found what appears to be a revelation in each of the first two
pages numbered 53 in the First Folio, we must remember that a Baconian
revelation, in order to be complete, satisfactory, and certain, requires
to be repeated "three" times. The uninitiated inquirer will not be able to
perceive upon the third page 53, on which is found the beginning of﹃The
Tragedie of Romeo and Juliet,﹄any trace of Bacon, or hog or pig, or
anything suggesting such things. The initiated will know that the Great
"Master-Mason" will supply two visible pillars, but that the third pillar
will be the invisible pillar, the Shibboleth; therefore, the informed will
not expect to find the third key upon the visible page 53, but upon
The Invisible Page 53.
Most of my readers will not fail to perceive that the invisible page 53
must be the page that is 53, when we count not from the beginning, but
from the end of the book of Tragedies, that is, from the end of the
volume.
The last page in the Folio is 399. This is falsely numbered 993, not by
accident or by a misprint, but (as the great cryptographic book, by
Gustavus Selenus [The man in the Moon], published in 1624, will tell those
who are able to read it) because 993 forms the word "Baconus," a signature
of Bacon. Let me repeat that the last page of the Great Folio of the plays
is page 399, and deducting 53 from 399 we obtain the number 346, which is
The Page 53 from the end.
On this page, 346, in the first column, we find part of﹃The Tragedie of
Anthony and Cleopatra,﹄and we there read,
Enobar. Or if you borrow one another's Love for the instant, you
may when you heare no more words of Pompey returne it againe: you
shall have time to wrangle in, when you have nothing else to do.
Anth. Thou art a Souldier, onely speake no more.
Enob. That trueth should be silent, I had almost forgot.
Now here we perceive that "Pompey,"
"in," and "got," by the manner in which the type is arranged in the
column, come directly under each other, and their initial letters being P.
I. G., we quite easily read "pig," which is what we were looking for.
But on this "invisible" page 53, in which the key-word is found, other
very important revelations may also be discovered, because it is the
"Shibboleth" page. If we count the headline title and all the lines that
come to the left-hand edge of the column on this page 346, we find that
"Pompey" which begins the word, "pig" is upon
The 43rd Line. (Example 1.)
Bacon very frequently signed with some form of cypher the first page of
his secret books. Let us, then, look at the first page of the Great Folio
of 1623, on which is the commencement of the play of "The Tempest." In the
first column of that first page we shall read
is perfect Gallowes: stand fast good Fate to his han
ging, make the rope of his destiny our cable, for our
owne doth little advantage: If he be not borne to bee
hang'd, our case is miserable.
Here, reading upwards from hang'd, we read hang'd, H. O. G., the "h" of
hang'd being twice used. And just as "Pompey" the commencement of
Pig, is upon the 43rd line of page 346 (the invisible page 53), so here on
page 1 the commencing word "hang'd" is also upon
The 43rd Line (Example 2.)
counting all the lines without exception, including as before the
head-line titles. Observe, that it is only made possible for us to read
"hang'd hog," because by the printer's "error" hanging is divided
improperly as han-ging instead of hang-ing. This apparent misprint is a
most careful arrangement made by the great author himself.
I must once again repeat that there are no misprints or errors in the
First Folio, 1623, because the great author was alive, and most carefully
arranged every column in every page, and every word in every column, so
that we should find every word exactly where we do find such particular
word. Hang'd hog is, therefore, clearly the signature of the great author
upon the first page of the Folio, just as 993 is his signature upon the
last page of the Folio. But, as I have already said, in order to obtain a
full, certain and complete revelation we must discover a third example.
This we shall find in the second column of
The First Page 43. (Example 3.)
wherein is the first scene of the second act of﹃The Merry Wives of
Windsor,﹄where we read as follows:—
Mis. Page. What's the matter, woman?
Mi. Ford. O woman: if it were not for one trifling respect, I could
come to such honour.
Mi. Page. Hang the trifle (woman) take the honour.
Here, reading the initial letters of each line upwards from "Hang," we get
quite clearly S. O. W., and we perceive that "Hang sow" is just as much
Bacon as is Hang hog. Thus, we get a triplet of No. 43, as we had a
triplet of page 53, but we should also realise that we get a third
triplet, because we find
Hang HOG (Example 1.)
on page one in the Comedies, the first portion of the plays, and we find
Hang SOW (Example 2.)
which is practically the same thing as Hang hog, upon page 43 in the
Comedies, the first portion of the plays, and we find that
Hang-hog is latten for Bacon (Example 3.)
is on page 53 in the Comedies, the first portion of the plays, and
"Hang-hog is Bacon," gives the Shibboleth, and affords the explanation of
the two previous examples. Thus we have a revelation of Bacon's authorship
in "three times three" forms, and the revelation is, therefore,
"absolutely perfect."
The Number 36.
There are thirty-six plays in the First Folio. This is not accidental.
Thirty-six is a cabalistic number, and is used in several of Bacon's works
when he refers to the Stage or to Plays.
The 36th Essay,
in the Italian edition of Bacon's "Essays," published in London, in 1618,
is entitled "Fattioni" (Stage Plays).
The 36 th Antitheta.
In the Latin edition of Bacon's "Advancement of Learning," published in
1623, the same year in which the Folio of the Plays appeared, the XXXVI.
Antitheta commences "Amorum multa debet scena (stage plays)," and when the
English edition was brought out in 1640, the XXXVI. Antitheta commences
with the word "The Stage."
The 36th Apophthegm.
In the collection of Bacon's "Apophthegms," printed in 1671, Apophthegm 36
reads as follows, and fully explains the meaning of "Hang-hog is latten
for Bacon, I warrant you."
"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 the account
of kindred: Prethee said my Lord Judge, how came that in? Why, if it
please you my Lord, your name 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. I [Aye], but, replyed Judge Bacon,
you and I cannot be kindred except you be hanged; for Hog is not Bacon
until it be well hanged."
Page 53.
At an early date Bacon selected the number "53" to give in numerous books
revelations concerning his authorship. In Florio's "Second Frutes,"
published in 1591, on page 53 we read:—
H. A slice of bacon, would make us taste this wine well.
S. What ho, set that gammon of bakon upon the board.
Florio was always a servant of Bacon's, and received a pension for﹃making
my lord's works known abroad.﹄The above is inserted on page 53 to inform
us that Bacon's name may be spelled in many different ways, as students of
various books will find to be the fact.
In the "Mikrokosmos," * of which editions both in Latin and in French were
published at Antwerp in 1592, we find on page 53 a picture of Circe's
Island, which the intelligent reader will perceive represents "the Stage."
Beneath it are the words from Proverbs ix. 17, which in our English
authorised version read,﹃Stolen waters are sweet, and bread eaten in
secret is pleasant.﹄Examining this engraving, we perceive in the
forefront Bacon's boar, drawn exactly as it is heraldically portrayed in
Bacon's crest, but with a man's head surmounted by a "Cap of Liberty," and
we should remember the words in Shakespeare's play, "As You Like It"
(which means'"Wisdom from the mouth of a clown"): "I must have liberty:...
to blow on whom I please, for so fools have... Invest me in my motley:
Give me leave to speak my mind, and I will through and through cleanse the
foule bodie of th' infected world, if they will patiently receive my
medicine."
* Note.—The title page is headed with the figure of a
Chameleon, which forms the "53rd" of "Alciati's Emblems."
The Chameleon was supposed to assume various appearances,
and is therefore used as an emblem for Bacon, who assumed
numerous masks in order to do good to all mankind, though in
a despised weed."
In Bacon's "Advancement of Learning," 1640, first edition in English, we
find a first page "53." In the margin of this page we find "Alexand":
(Bacon sometimes alluded to himself as Alexander). But the page 55 is
misnumbered "53," and on this second and false page "53" we read in the
margin
* Note.—A few copies of my book, "Bacon is Shakespeare,"
published by Gay & Hancock, are still on sale at the price
of 2s. '6d. No important statement contained therein has
been or ever will be successfully controverted because the
facts stated are derived from books contained in my unique
library, which includes works that must have belonged to a
distinguished Rosicrucian who was well acquainted with the
secrets of Bacon's authorship.
Perhaps I should add that here, in this little book, before the reader's
eyes, is the knowledge of this revealing page of the Northumberland MSS.
given for the first time wide publicity. Spedding's little book, which has
been long out of print, was too insignificant to attract much notice, and
Mr. Burgoyne's splendid work was too expensive for ordinary purchasers.
* Note.—The forty-eight translators made use of『The
Bishops' Bible,』but no copy of this work, on which appear
any annotations by the translators, can be discovered. See
Bishop Westcott's "History of the English Bible," 1905, p.
118.
Is it possible that any intelligent person can really read the Bible as a
whole, not now a bit and now a scrap, but read it straight through like an
ordinary book and fail to perceive that the majestic rhythm that runs
through the whole cannot be the language of many writers, but must flow
from the pen, or at least from the editorship, of one great master mind?
A confirmation of this statement that the Authorised Version of King James
I. was edited by one masterhand is contained in the "Times" newspaper of
March 22nd, 1912, where Archdeacon Westcott, writing about the Revised
Version of 1881, says, the revisers "were men of notable learning and
singular industry.... There were far too many of them; and successful
literary results cannot be achieved by syndicates."
Yes, the Bible and Shakespeare embody the language of the great master,
but before it could be so embodied, the English tongue had to be created,
and it was for this great purpose that Bacon made his piteous appeals for
funds to Bodley, to Burleigh, and to Queen Elizabeth.
Observe the great mass of splendid translations of the Classics (often
second-hand from the French, as Plutarch's "Lives" by North) with which
England was positively flooded at that period. Hitherto no writer seems to
have called attention to the fact that certain of these translations were
made from the French instead of from the original Greek or Latin, not
because it was easier to take them from the French, but because in that
way the new French words and, phrases were enabled to be introduced to
enrich the English tongue. The sale of these translations could not
possibly have paid any considerable portion of their cost.
Thus Bacon worked. Thus his books under all sorts of pseudonyms appeared.
No book of the Elizabethan Age of any value proceeded from any source
except from his workshop of those "good pens," over whom Ben Jonson was
foreman.
In a very rare and curious little volume, published anonymously in 1645,
under the title of﹃The Great Assises holden in Parnassus by Apollo and
his Assessours,﹄Ben Jonson is described as the﹃Keeper of the Trophonian
Denne,﹄and in Westminster Abbey his medallion bust appears clothed in a
left-handed coat to show us that he was a servant of Bacon.
O, rare Ben Jonson—what a turncoat grown!
Thou ne'er wast such, till clad in stone;
Then let not this disturb thy sprite,
Another age shall set thy buttons right. '
Stowe ii., p. 512-13.
In this same book, we see on the leaf following the title page the name of
Apollo in large letters in an ornamental frame, and below it in the place
of honour we find Francis Bacon placed as "Lord VERULAN Chancellor
of Parnassus."
This means that Bacon was the greatest of poets since the world began.
This proud position is also claimed for him by Thomas Randolf in a Latin
poem published in 1640, but believed to have been written immediately
after Bacon's death in 1626. Thomas Randolf declares that Phoebus (i.e.,
Apollo) was accessory to Bacon's death because he was afraid that Bacon
would some day come to be crowned king of poetry or the Muses. George
Herbert, Bacon's friend, who had overlooked many of his works, repeats the
same story, calling Bacon the colleague of Sol, i.e., Phoebus Apollo.
Instances might be multiplied, but I will only quote the words of John
Davies, of Hereford, another friend of Bacon's, who addresses him in his
"Scourge of Folly," published about 1610, as follows:—
As to her Bellamour the Muse is wont;
For, thou dost her embozom; and dost use,
Her company for sport twixt grave affaires.
Bacon was always recognised by his contemporaries as among the greatest of
poets. Although nothing of any poetical importance bearing Bacon's name
had been up to that time published, Stowe (in his Annales, printed in
1615) places Bacon seventh in his list of Elizabethan poets.
* Note.—Stratford owes all its glory to two of its sons,
John, Archbishop of Canterbury, who built a church there;
and Hugh Clopton, who built, at his own cost, a bridge of
fourteen arches across the Avon. Translated from Jean Blaeu,
1645.
The Shakespeare myth is now destroyed. Does any educated person of
intelligence still believe in the "Tar Baby," the illiterate clown of
Stratford, who was totally unable to write a single letter of his own
name, and of whom we are told, if we understand what we are told, that he
could not read a line of print. No book was found in his house, and
neither of his daughters could either read or write.
There exists no "portrait" of Shakespeare. The significant fact that the
Figure put for Shakespeare in the 1623 Folio of the plays consists of a
doubly left-handed dummy is alone sufficient to dispose of the Shakespeare
myth. I have printed in various newspapers all over the world about a
million copies of articles demonstrating this fact, which none can
successfully dispute.
In modern times Percy Bysshe Shelley—one of England's greatest poets
(who knew nothing about the Shakespeare controversy)—wrote as
follows:﹃Bacon was a poet. His language has a sweet and majestic rhythm,
which satisfies the sense, no less than the almost superhuman wisdom of
his philosophy satisfies the intellect. It is a strain, which distends and
then bursts the circumference of the reader's mind, and pours itself forth
together with it into the universal element with which it has perpetual
sympathy.﹄This statement by Shelley, taken in conjunction with the
testimony of "The Great Assises holden in Parnassus," 1645, and the words
of Thomas Randolf, 1640, and of Bacon's friends George Herbert and John
Davies, together with the contemporary evidence of Stowe in 1615, are
sufficient to dispose, once and for all, of the absurd contention that is
sometimes put forth that Bacon did not possess sufficient poetical ability
to have written his own greatest work, the Immortal Plays.
Lord Palmerston said that he rejoiced to see the reintegration of Italy,
the unveiling of the mystery of China, and the explosion of the
Shakespeare illusions. Lord Houghton, the father of the present Marquis of
Crewe, said that he agreed with Lord Palmerston. John Bright said any man
that believed that William Shakespeare wrote "Hamlet," or "Lear," was a
fool. Prince Bismarck said in 1892: "He could not understand how it were
possible that a man, however gifted with the intuitions of genius, could
have written what was attributed to Shakespeare unless he had been in
touch with the great affairs of State, behind the scenes of political
life, and also intimate with all the social courtesies and refinements of
thought which in Shakespeare's time were only to be met with in the
highest circles."
The "Tempest" is over, the false crown of the Island (the Stage) has been
torn from the head of the dummy that appeared to wear it. It seems
difficult to imagine that people possessed of ordinary intelligence can
any longer continue to believe that the most learned of all the literary
works in the world was written by the most unlearned of men, William
Shakespeare of Stratford, who never seems even to have attempted to write
a single letter of his own name. It has been proved that the six so-called
signatures of Shakespeare were written by various law clerks, and it is
now admitted that there exist no other writings which can even be supposed
to be from his pen.
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