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Posted to HLAS today:

The idea of numerology being an integral aspect of the Shakespeare
Opus is  anathema to Stratfordian Orthodoxy for a very good reason:

Admit it - and Stratfordian Orthodoxy is destined for the dustbin of
history.

The view of Shakespeare's contemporaries on the subject matter is
reflected in the opening lines of a 2003 paper by Marlovian Peter
Bull, which I came across on the Internet a few days ago:

"One of the most striking differences between the Renaissance
worldview and that of the present day lies in a shift from a richly
subjective to a purely objective conceptualisation of numbers and
mathematics.  In the Renaissance numbers were held in a regard so high
they were believed to provide the secret key to the deepest mysteries
of God and man.  Pico della Mirandola spoke for his age when he wrote
(in John Dee's inimitable translation):

"By numbers, a way is had, to the searchyng out, and understandyng of
every thyng, hable to be knowen."

Examples of similar numerical enthusiasm could be cited from a great
many of the leading figures of the Renaissance.  It is scarcely
surprising therefore that the writers of that age took numerical
symbolism extremely seriously too.

The profound role of numerology in the literature of the period has
been appreciated for many years now.  Prominent among those who have
initiated this revelation is Professor Alastair Fowler, and he has
described the scope of the movement thus:

"Numerology ... was widely used by Latin authors, common to the best
medieval and renaissance poets and almost universal in the period 1580
to 1680, when it reached its greatest heights of sophistication."

The work of Fowler and others has revealed that subtle but complex
numerical patterns are to be found in the major works of Marlowe's
immediate peers, including Sidney, Spenser, Chapman and Shakespeare.
It is a fact, however, that this body of numerical criticism has
focussed almost exclusively on poetry and has all but ignored the
prime technique of literary numerology, which is the interplay of
words, names and numbers found in the Cabala.

There are several possible reasons for this, but key among them must
be the fact that Literary Cabala has always been a matter steeped in
secrecy.  This reflects the fact that Cabala is a technique originally
devised as a means of transmitting, yet at the same time concealing,
the most sacred and portentous mysteries of the ancient world.  This
perennial aura of secrecy has ensured the Cabala's status as something
of a lost art; however it is one that was temporarily rediscovered and
very highly regarded by those, like Pico and Dee, at the cutting edge
of the Renaissance."  ('Marlowe and the Cabala - A Cabalistic and
Numerological Subtext to Tamburlaine')

For the past three decades, I have researched the "interplay of words,
names and numbers" in the Saga literature of 13th century Iceland and
the Shakespeare works of Elizabethan and Jacobean England - on the
basis thereof, I am persuaded, for example, that there is more than
meets the eye to "Cosen Bacon", 4669, and "Seriant Harris", 7347, to
whom Edward Oxenford wished to "passe" his "Booke from her Magestie".

"Cosen Bacon" is the sole extant reference by the Earl of Oxford to
Francis Bacon and, by chance or otherwise, Cosen Bacon's Cipher Value
is mirrored in that of Kabbala Denudata, 4669, or 'The Kabbala
Revealed'.

As for the Cipher Value of "Seriant Harris" (viewed by modern scholars
as a variation on "Sergeant Harris"), it is mirrored in the Cipher Sum
1000 - 4000 + 10347 = 7347, thereby "identifying" this otherwise
unknown character as Mythical Brownswerd, - 4000, alias "mortal coil"
for Light of the World, 1000, viewed as Spatio-temporal manifestation
of Our Ever-living Poet, 10347, of the Dedication of Shakespeare's
Sonnets.

Kabbala Denudata, 4669, is the title of a work published in the second
half of the 17th century, whose title page depicted a young lady
running towards 'Palatium Arcanorum', 9129, with keys to the Old and
New Testaments dangling from her arm.

Who's the young lady?

A possible answer was placed on record in W. J. Craig's 1895 edition
of 'The Complete Works of William Shakepspeare' through the
introduction of "Ophelia Daughter to Polonius," 13798 as in 4669 +
9129 = 13798.

Jun 27, 9:24 pm
Newsgroups: humanities.lit.authors.shakespeare
From: "gangleri" <gunnar.tomas...@...>
Subject: Edward Oxenford - Vultus Tela Vibrat

Three propositions advanced by Oxfordians (and yours truly), and
rejected by Stratfordians:

1.  Edward Oxenford's "Booke from her Magestie" mentioned in his
letter to Robert Cecil of October 8, 1601 refers to "Shakespeares
Sonnets", which his "Cosen Bacon" and "Seriant Harris" were to
"perfet".

2.  Gabriel Harvey's lines in his Edward Oxenford poem of 1578 - when
Gulielmus was all of 14 years of age - "vultus tela vibrat" ["thy
countenance shakes a speare"] alludes to Edward Oxenford as Author of
the "Booke".

3.  William Cecil's play-casting as Polonius in Hamlet served to
signal Edward Oxenford's play-acting the role of Prince Hamlet alias
Cosmic Creative Power at the level of Stratfordian MAN-Beast.

And how does one, if at all, ascertain the truth of the matter?

Not through You-say-I-say argumentation - absent any standard of
coherence in its argument, the record affirms that an Idiot's "Nah"
will carry the day.

What to do?

Whack the Idiot over the head with a 4x4 Gematria Style!

Huh?

****

Point # 1:

My very good brother, yf my helthe hadd beene to my mynde I wowlde
have beene before this att the Coorte as well to haue giuen yow
thankes for yowre presence at the hearinge of my cause debated as to
have moued her M for her resolutione.  As for the matter, how muche I
am behouldinge to yow I neede not repeate but in all thankfulnes
acknowlege, for yow haue beene the moover & onlye follower therofe for
mee & by yowre onlye meanes I have hetherto passed the pykes of so
many adversaries.  Now my desyre ys. Sythe them selues whoo have
opposed to her M ryghte seeme satisfisde, that yow will make the ende
ansuerabel to the rest of yowre moste friendlye procedinge.  For I am
aduised, that I may passe my Booke from her Magestie yf a warrant may
be procured to my Cosen Bacon and Seriant Harris to perfet yt.  Whiche
beinge doone I know to whome formallye to thanke but reallye they
shalbe, and are from me, and myne, to be sealed up in an aeternall
remembran&e to yowreselfe.  And thus wishinge all happines to yow, and
sume fortunat meanes to me, wherby I myght recognise soo diepe
merites, I take my leave this 7th of October from my House at Hakney
1601.

Yowre most assured and louinge Broother
Edward Oxenford

Cipher Value 511378.

****

Point # 2.

"I take my leave":

Edward Oxenford                                   =   -7936

"My Booke":

TO THE.ONLIE.BEGETTER.OF.                         =  10233
THESE.INSUING.SONNETS,                            =  11550
Mr. W.H., ALL HAPPINESSE                          =   9775
AND.THAT.ETERNITIE.                               =   7932
PROMISED.                                         =   4480
BY.                                               =    541
OUR EVER-LIVING POET.                             =  10347
WISHETH.                                          =   5122
THE WELL-WISHING.                                 =   9575
ADVENTURER.IN                                     =   6780
SETTING.FORTH.                                    =   7354
                                         T.T.      =   1846
"Our Ever-living Poet":

Jesus Christ                                      =   7284

"The Race Of Shakespeare's Minde":

Gulielmus filius Johannes Shakspere               =  17252
Will Shakspere gent.                              =  10026

Gabriel Harvey's lines*:

Virtus fronte habitat: Mars occupat ora; Minerva  =  23037
In dextra latitat: Bellona in corpore regnat:     =  19035
Martius ardor inest; scintillant lumina: vultus   =  24762
Tela vibrat: quis non redivivum iuret Achillem?   =  21833
O age, magne Comes, spes est virtutis alenda      =  18531
Ista tibi;                                        =   4206

Ben Jonson's First Folio reflections on Dead Father:

        Looke how the fathers face                  =  11599
Lives in his issue, even so, the race              =  15715
Of Shakespeares minde and manners brightly shines  =  20651
In his well torned and true-filed lines:           =  17328
In each of which, he seemes to shake a Lance,      =  15712
As brandish't at the eyes of Ignorance.            =  14757
Sweet Swan of Avon!  what a sight it were          =  21616
To see thee in our waters yet appeare,             =  17318
And make those flights upon the bankes of Thames,  =  19678
That so did take Eliza and our James!              =  14184
But stay, I see thee in the Hemisphere             =  15161
Advanc'd, and made a Constellation there!          =  14530
Shine forth, thou Starre of Poets, and with rage   =  22500
Or influence, chide or cheere the drooping Stage;  =  19541
Which, since thy flight fro hence,
                 hath mourn'd like night,           =  24007
And despaires day, but for thy Volumes light.      =  18824

BEN: IONSON.                                       =   4692 = 511378

*Valour dwells on brow: Mars seizes the mouth: Minerva
In right hand lies hid; Bellona in body reigns:
Warlike heat's within; eyes spark: countenance
Missiles shakes: who would not swear Achilles reborn?
O act, great Earl, your hope of heroism must be fed
By you.

****

Point # 3.

Hamlet's Mission in [Stratfordian] Hell:
Act I, Sc. v - First Folio:

Oh all you host of heauen!  Oh earth; what els?     =  18729
And shall I couple hell?  Oh fie: hold my heart;    =  15857
And you my sinnewes, grow not instant old;          =  21200
But beare me stiffely up:                           =   9827

Hamlet's "Sinnewes":

Edward Oxenford                                     =   7936
Simon Barjona [Matt. 16:17-19]                      =   5829

Hamlet's Mission Completed:

World Age                                           = 432000 = 511378

****

The Saga-Shakespeare Cipher Key and Calculator are posted on the
Internet at http://www.light-of-truth.com/gunnartomasson/ciphers.htm

Jun 26, 6:27 pm
Subject: "This Marlowe Bearing Name To Serve The Lord"

Today, I printed out and studied Peter Farey's brief note on 'The
Spelling of Marlowe's Name' on the assumption that application of
the Saga-Shakespeare Cipher Key would serve to shed light on some
facets thereof.   And so it did!

With 'Christofer Marley', 8477, apparently serving to identify
Stratfordian MAN-Beast, 666, as "monstrous beast" Christophero Sly,
9143 as in 8477 + 666 = 9143, on which A Lord and Lord's Players
"practise" in 'The Taming of the Shrew'.*

****
* Oh monstrous beast, how like a swine he lyes.
Grim death, how foule and loathsome is thine image:
Sirs, I will practise on this drunken man.
What thinke you, if he were conuey'd to bed,
Wrap'd in sweet cloathes: Rings put vpon his fingers:
A most delicious banquet by his bed,
And braue attendants neere him when he wakes,
Would not the begger then forget himselfe?

Good question!

Witness David Kathman, Tom Reedy, Terry Ross, Bob Grumman, Peter Groves
et al.!

****

According to Peter Farey, "The only clear reference to Marlowe as a
playwright around that time came from Thomas Kyd, fairly shortly after
his own imprisonment (from 12th May 1593) and the killing, when he
wrote [with Cipher Values added]:


"My first acquaintance with this Marlowe,          =  20835
rose upon his bearing name to serve the Lord:      =  19574
although his L[ordshi]p never knew his service     =  18702
but in writing for his plaiers."                   =  15461 = 74572

And why do "we [and Kyd - insert] spell 'Marlowe' as we do now?"
Farey "suspect[s] that it is because the first work to be printed
with his name as author (Dido, Queen of Carthage, in 1594) had it that
way."  The full text of the play's title page read as follows:
"The Tragedie of Dido Queene of Carthage: Played by the Children of
his Majesties Chappell.  Written by Christopher Marlowe, and Thomas
Nash, Gent.... 1594. 4to."

The title's Cipher Value is 14440; with the text on the players and
the authors, the total Cipher Value is 59029.

And how might all this relate to the question:

Who was the 'real' Shakespeare?

In 1768, David Garrick had the following cryptic answer penned on the
pedestal of a statue of William Shakespeare which he donated to
Stratford township and which now stands at Stratford's City Hall:

"Take him for all in all.  We shall not look upon his like again."

The inscription's Cipher Value is 24471 as in 35662* + 14440 + 24471
= 74573, which is the Cipher Sum of "all in all" alias Monad, 1,
and Thomas Kyd's comments on Marlowe "bearing a name to serve the
Lord", 74572 as in 1 + 74572 = 74573.

****

*  This is the Cipher Value of the Stratfordian's "houre vpon the
stage" from 'baptism' as Gulielmus filius Johannes Shakspere,
17252, on April 26, 1564, and 'burial' at The End, 100, as Will
Shakspere gent, 10026, on April 25, 1616 as in 17252 + 2602 + 1564 +
100 + 10026 + 2502 + 1616 = 35662.

****

Later, Garrick was buried at the foot of the statue of William
Shakespeare in Westminster Abbey - presumably on his instructions AS
IF to remind posterity of that other statue inscribed and erected by
him at Stratford in 1768.

IF such was in fact the case, THEN the modus operandi of the authors
of 'hidden poetry' on core themes in Shakespeare Myth would suggest
that Garrick had taken care to ensure that the presumptive piece of
'hidden poetry' associated with the pedestal inscription of 1768
would NOT stand alone, but would be 'seconded' in a clear and
persuasive manner.

And, indeed, the Cipher Value of the full text inscribed on the
Stratford statue, 136608*, is mirrored in the Cipher Sum 7 - 1000 +
4000 + 74572 + 59029 = 136608, where

7 = [Stratfordian] MAN-Beast of Seventh Day;

- 1000 = Darkness [of Stratfordian Ignorance];

4000 = Flaming Sword [Monad/Marlowe discarding his Stratfordian
'disguise'];

74572 = Thomas Kyd's comments on Marlowe as playwright; and

59029 = The text on the title page of Marlowe's first play.

****

* Take him for all in all.                     =   7938
We shall not look upon his like again.         =  16533

The Corporation                                =   8271
and Inhabitants of Stratford                   =  12807
Assisted by                                    =   5103
The munificent Contributions                   =  15276
of the Noblemen                                =   5888
and Gentlemen in the Neighbourhood             =  13894
Rebuilt this Edifice in the Year 1768.         =  14687

The Statue of Shakespear                       =  11187
and his Picture within                         =  11658
were given by David Garrick Esq.               =  13366 = 136608

****
The Saga-Shakespeare Cipher Key and Calculator are posted on the
Internet at http://www.light-of-truth.com/gunnartomasson/ciphers.htm

Jun 25, 11:01 pm
Newsgroups: humanities.lit.authors.shakespeare
From: "gangleri" <gunnar.tomas...@...>
Subject: Terry Ross: Genuine Arcostics Are Also Valid Ciphers

Terry Ross opined as follows on October 18, 2004:

"Genuine acrostics are also valid ciphers."

Adding:

"Anybody who takes the first letters of each line of each line will
get the same solution as anybody else who follows the same procedure.
  It does not matter whether you believe Plautus himself was the author
of the arguments to his plays (or even the plays themselves)."

See: http://shakespeareauthorship.com/sf/acros.html

Here, with Cipher Values added, is Terry's example of "Genuine
Acrostics [which] Are Also Valid Ciphers":

M ercator Siculus, quoi erant gemini filii,       =  19581
E i surrupto altero mors optigit.                 =  17847
N omen surrepticii illi indit qui domist          =  19853
A vos paternus, facit Maenaechmum e Sosicle.      =  18732
E t is germanum, postquam adolevit, quaeritat     =  21189
C ircum omnis oras. post Epidamnum devenit:       =  20122
H ic fuerat alitus ille surrepticius.             =  18425
M enaechmum omnes civem credunt advenam           =  16809
E umque appellant meretrix, uxor et socer.        =  20565
I se cognoscunt fratres postremo invicem.         =  21045 = 194168


Might this "Genuine Acrostic" have served the Author of the
Shakespeare Opus - Will Shakspere of Stratford or someone else - as
reference marker for scholars "of the future ages" such as Terry Ross,
whose love of his investment in the Stratfordian cause is either First
or Second to the Truth of the Matter?

Some time back, Tom Veal expressed disbelief at my suggestion that
Francis Bacon, 5385, Edward Oxenford, 7936, and Ben Ionson, 4692, had
somehow been joint (Tri-Unite) "carriers" of Light of the World, 1000,
in the context of Shakespeare Myth.

As such, "their" transformation through metamorphosis into Flaming
Sword, 4000, would have signaled successful Completion of Shakespeare
Myth as in the First Folio's opening verse:

To the Reader.                                 =   5506

This Figure, that thou here seest put,         =  18235
It was for gentle Shakespeare cut;             =  16030
Wherein the Graver had a strife                =  13614
With Nature, to out-doo the life:              =  15814
O, could he but have drawne his wit            =  16422
As well in brasse, as he hath hit              =  13172
His face; the Print would then surpasse        =  19454
All that was ever writ in brasse.              =  16560
But, since he cannot, Reader, looke            =  13299
Not on his Picture, but his Booke.             =  15354

B. I.                                          =    541 = 164001

Whose booke?

Francisco Bacono, 7154?

As in 5385 + 7936 + 4692 + 1000 + 4000 + 164001 + 7154 = 194168?

****
The Saga-Shakespeare Cipher Key and Calculator are posted on the
Internet at http://www.light-of-truth.com/gunnartomasson/ciphers.htm

Jun 24, 12:15 am

Subject: Re: McCrea review

Tom Veal:

Re. the following from your review:

Mr. McCrea sweeps aside the claims made for Bacon, the groupists,
Derby and Marlowe almost as briskly as Rutland's. In Bacon's case, the
heavy lifting was done long ago by J. M. Robertson in his painstaking
(and monumentally dull) treatise, The Baconian Heresy: A Confutation
(1913), which compares and contrasts the style and vocabulary of the
Author with that of the Lord Chancellor in as much detail as will ever
be necessary. Robertson can be called the only successful
anti-anti-Stratfordian, for serious Baconianism sank under his
onslaught and remains moribund to this day. Nutty variants, placing
their faith in cryptograms, persist, despite the similarly definitive
effort of William and Elizabeth Friedman in The Shakespearean Ciphers
Examined (1957).

Comment:

Some food for thought.

1.  The Saga-Shakespeare Cipher Key assigns a Cipher Value of 17252 to
the Stratfordian's baptismal name - Gulielmus filius Johannes
Shakspere - as documented in a purported copy of original records of
Stratford's Holy Trinity Church.

An alleged Shakespeare Myth, whose Author's "signature" is Francisco
Bacono, 7154, refers to Cosmic Creative Power/Monad, 1, that is at
once mundane and trans-mundane as Scialetheia, 4600, (A Shadow of
Truth)  Et in Arcadia Ego, 5497, (And I in Arcadia) as in 7154 + 1 +
4600 + 5497 = 17252.

2.  Joseph Campbell reports that the phrase 'Time Jesum transeuntem et
non revertentem', 21288, (Dread the passage of Jesus for he does not
return) "terrified more than one soul" in the Middle Ages.

In the imagery of Augustan-Saga-Shakespeare Myth, the "passage" comes
to an end with the 'union' of Two Fives into 'one flesh', as in 21288
+ 10 = 21298.

For what it's worth, this epochal Cipher Value is mirrored in the
Cipher Sum 14144 + 7154 = 21298, as in

the 'Marlovian" motto QVOD ME NUTRIT ME DESTRUIT, 14144,  and

the Stratfordian's burial entry, Will Shakspere gent, 10026, April 25,
1616 as in 10026 + 2502 + 1616 = 14144.

3.  The Cipher Value of the dreaded Latin phrase is mirrored in the
Cipher Sum 14034 + 100 + 7154 = 21288, as in

14034 = HONORIFICABILITUDINITATIBUS;

100 = Number symbol for The End; and

7154 = Francisco Bacono - By Francis Bacon, as in the name of one who
left HONORIFICABILITUDINITATIBUS written in pyramid form in his
private papers.

4.  In the imagery of Shakespeare Myth, as I construe it, the duration
of the Passage of Jesus is 26 years, as in number of Generations in
the Cycle of Moses in Hebrew Myth, with Alpha at June 29, 1587, and
Omega at June 29, 1613 as in 2904 + 1587 + 2904 + 1616 = 9008.

The Alpha date is that of the Privy Council's letter to Cambridge
University on behalf of ABSENT Christopher Marlowe concerning favors
which Her Majesty expected the University to extend to Marlowe at "the
next commencement"; the Omega date is that of the Fire at The Globe,
which burned it to the ground.

5.  Now here is what Schoenbaum might have termed "a meaty morsel" for
Baconian cipher aficionados, namely, 21298 + 9008 + 1040 + 3394 =
34740, where 1040 = I AM, as in Exodus 3:14, and 3394 = JESUS, The End
of whose 'passage', 21298, is symbolized in Shakespeare Myth by the
'burning' of The Globe.

As for the reference Cipher Value 34740, it is that of the words of
Jesus in the KJV (1611) text of Matt. 10:34

- Thinke not that I AM COME to send peace on earth; I CAME not to send
peace, but a sword -

where I AM COME signals Alpha as I CAME does Omega.

There is much more - but I'll leave it at that.

Sun,Jun 19 2005 2:22 pm

Light of the World                                 =    1000
Man of Seventh Day                                 =       7

Alias Augustan-Saga-Shakespeare Authors:
Quintus Horatius Flaccus                           =  14209
Publius Virgilius Maro                             =  12337
Sextus Propertius                                  =  11999
Publius Ovidius Naso                               =  11249
Snorri Sturluson                                   =  11359
Sturla Þórðarson                                   =   9814
Francis Bacon                                      =   5385
Edward Oxenford                                    =   7936

The Mighty March of Time                           = 455481

The Second Coming                                  =   7524
MAN-Beast No More:
O RARE BEN JOHNSON                                 =   7671 = 555971

****
The Saga-Shakespeare Cipher Key and Calculator are posted on the
Internet at http://www.light-of-truth.com/gunnartomasson/ciphers.htm

Sun,Jun 19 2005 2:17 pm

Matt. Ch. IV - KJV, 1611:
Christ fasteth, and is tempted.                          =  13534
The Angels minister vnto him.                            =  13395
4:1
Then was Iesus led vp of the Spirit into the Wildernesse,=  28613
to bee tempted of the deuill.                           =  11214
4:2
And when hee had fasted forty dayes and forty nights,   =  20530
hee was afterward an hungred.                           =  13181
4:3
And when the tempter came to him, hee said,             =  16482
If thou be the Sonne of God,                            =  10566
command that these stones bee made bread.               =  15281
4:4
But he answered, and said, It is written,               =  18472
Man shall not liue by bread alone,                      =  11833
but by euery Word that proceedeth out of the mouth of God.=  26509
4:5
Then the deuill taketh him vp into the holy Citie,      =  20924
and setteth him on a pinacle of the Temple,             =  16520
4:6
And saith vnto him,                                     =   8004
If thou bee the Sonne of God, cast thy selfe downe:     =  20580
For it is written,                                      =  10222
He shall giue his Angels charge concerning thee,        =  18267
& in their handes they shall beare thee vp,             =  15292
lest at any time thou dash thy foote against a stone.   =  22323
4:7
Iesus said vnto him, It is written againe,              =  19606
Thou shalt not tempt the Lord thy God.                  =  17802
4:8
Againe the Deuill taketh him vp                         =  12002
into an exceeding high mountaine,                       =  13354
and sheweth him all the kingdomes of the world          =  20642
and the glory of them:                                  =   8143
4:9
And saith vnto him, All these things will I give thee   =  22688
if thou wilt fall downe and worship me.                 =  19710
4:10
Then saith Iesus vnto him,                              =  12627
Get thee hence, Satan: for it is written,               =  17837
Thou shalt worship the Lord thy God,                    =  18110
and him onely shalt thou serue.                         =  13398
4:11
Then the deuill leaveth him,                            =  11082
and behold, Angels came and ministred vnto him.         =  17228 = 555971

Sun,Jun 19 2005 2:09 pm

Deuouring Time...

Monad                                                   =      1

Sonnet # 19:
Deuouring time blunt thou the Lyons pawes,              =  21597
And make the earth deuoure her owne sweet brood,        =  21602
Plucke the keene teeth from the fierce Tygers yawes,    =  22578
And burne the long liu'd Phaenix in her blood.          =  17194
Make glad and sorry seasons as thou fleet'st,           =  18991
And do what ere thou wilt swift-footed time             =  22483
To the wide world and all her fading sweets:            =  20338
But I forbid thee one most hainous crime,               =  17591
O carue not with thy howers my loues faire brow,        =  25088
Nor draw noe lines there with thine antique pen.        =  23282
Him in thy course vntainted doe allow,                  =  17700
For beauties patterne to succeeding men.                =  17717
Yet doe thy worst ould Time dispight thy wrong,         =  24342
My loue shall in my verse euer liue young.              =  18004

...Out of Ioynt

Hamlet:
Rest, rest perturbed spirit: so Gentlemen,              =  20575
With all my loue I doe commend me to you,               =  17151
And what so poore a man as Hamlet is,                   =  14938
May doe t'expresse his loue and frending to you         =  20043
God willing shall not lacke:  let vs goe in together,   =  22259
And still your fingers on your lips I pray,             =  19542
The time is out of ioynt. O cursed spight!              =  19301
That euer I was borne to set it right.                  =  18055
Nay come, lets goe together.                    Exeunt. =  15109 = 455481

Virgil's Prophecy - The Advent of Christ
(1st century B.C.)

MAGNUS AB INTEGRO SAECLORUM NASCITUR ORDO               =  20087
(Voici Qui Recommence Le Grand Ordre Des Siècles)
(The mighty March of Time resumes from nil)
(The great roll-call of the centuries is born anew)

Jesus                                                    =  3394
World Age                                                =432000 = 455481

Sun,Jun 19 2005 2:03 pm

Background - Prince Hamlet

This is meant to be only an essay.  It is a first reconnaissance of a
realm well-nigh unexplored and uncharted.  From whichever way one
enters it, one is caught in the same bewildering circular complexity,
as in a labyrinth, for it has no deductive order in the abstract
sense, but instead resembles an organism tightly closed in itself, or
even better, a monumental "Art of the Fugue."

The figure of Hamlet as a favorable starting point came by chance.
Many other avenues offered themselves, rich in strange symbols and
beckoning with great images, but the choice went to Hamlet because he
led the mind on a truly inductive quest through a familiar landscape -
and one which has the merit of its literary setting.  Here is a
character deeply present to our awareness, in whom ambiguities and
uncertainties, tormented self-questioning and dispassionate insight
give a presentiment of the modern mind.  His personal drama was that
he had to be a hero, but still try to avoid the role Destiny assigned
him. His lucid intellect remained above the conflict of motives - in
other words, his was and is a truly contemporary consciousness.  And
yet this character whom the poet made one of us, the first unhappy
intellectual, concealed a past as a legendary being, his features
predetermined, preshaped by long-standing myth.  There was a numinous
aura around him, and many clues led up to him.  But it was a surprise
to find behind the mask an ancient and all-embracing cosmic power -
the original master of the dreamed-of first age of the world.

Yet in all his guises he remained strangely himself.  The original
Amlóði, as his name was in Icelandic legend, shows the same
characteristics of melancholy and high intellect.  He, too, is a son
dedicated to avenge his father, a speaker of cryptic but inescapable
truths, an elusive carrier of Fate who must yield once his mission is
accomplished and sink once more into concealment in the depths of time
to which he belongs:  Lord of the Golden Age, the Once and Future King.

This essay will follow the figure farther and farther afield, from the
Northland to Rome, from there to Finland, Iran, and India; he will
appear again unmistakably in Polynesian legend.  Many other Dominions
and Powers will materialize to frame him within the proper order.

Amlóði was identified, in the crude and vivid imagery of the Norse,
by the ownership of a fabled mill which, in his own time, ground out
peace and plenty.  Later, in decaying times, it ground out salt; and
now finally, having landed at the bottom of the sea, it is grinding
rock and sand, creating a vast whirlpool, the Maelstrom (i.e. the
grinding stream, from the [Icelandic] verb mala, "to grind"), which is
supposed to be a way to the land of the dead.  This imagery stands, as
the evidence develops, for an astronomical process, the secular
shifting of the sun through the signs of the zodiac which determines
world-ages, each numbering thousands of years.  Each age brings a
World Era, a Twilight of the Gods.  Great structures collapse; pillars
topple which supported the great fabric; floods and cataclysms herald
the shaping of a new world. (Giorgio de Santillana, 'Hamlet's Mill -
An Essay on Myth and the Frame of Time', 1969; Second Paperback
Edition, David R. Godine, Publisher, Boston, 1983, pp. 1-2.)

The Concept of A World Age

One explanation that has been proposed to account for the appearance
of homologous structures and often even identical motifs in the myths
and rites of widely separate cultures is psychological: namely, to
cite a formula of James G. Frazer in The Golden Bough, that such
occurrences are most likely "the effect of similar causes acting alike
on the similar constitution of the human mind in different countries
and under different skies."

There are, however, instances that cannot be accounted for in this
way, and they suggest the need for another interpretation: for
example, in India the number of years assigned to an eon is 4,320,000;
whereas in the Icelandic Poetic Edda it is declared that in Othin's
warrior hall, Valhall, there are 540 doors, through each of which, on
the "day of the war of the wolf", 800 battle-ready warriors will pass
to engage the antigods in combat.  But 540 times 800 equals 432,000!

Moreover, a Chaldean priest, Berossos, writing in Greek ca. 289 B.C.,
reported that according to Mesopotamian belief 432,000 years elapsed
between the crowning of the first earthly king and the coming of the
deluge.

No one, I should think, would wish to argue that these figures could
have arisen independently in India, Iceland, and Babylon. (Joseph
Campbell, 'The Mythic Image', Bollingen Paperbacks, Princeton
University Press, 1973, p. 72)

Notes On The End Of The World

According to the Hindu tradition of cosmology, we are now nearing the
end of the Kali Yuga (the Age of Iron) which is the final and most
negative of four evolutionary Yugic cycles.  Each Yuga is like the
season of a super-cosmic year, even greater than the cosmic year of
the precession of the equinoxes. When the Earth came into its current
phase of manifestation and the first Yuga began ('Satya' Yuga, meaning
'Purity') humanity was barely removed from its original state of
God-like innocence. This was the original Golden Age. As time
progressed the planet underwent the influence of a negative descending
spiral, and the quality of life in each successive Yuga became further
and further removed from the knowledge of truth and natural Law (in
other words, 'Reality'). In the second, Treta Yuga (Silver Age)
spiritual awareness decreased by one fourth and by the time of Dvapara
Yuga (Copper Age) negativity had a 50% holding. In the Kali Yuga the
vibration has become pretty murky and humanity is labouring against
heavy odds. Righteousness (right-use-ness) has diminished to scant one
fourth of its original strength. Throughout our current history we
have created and been assailed by all the evils of Pandora's box. No
wonder the human race is having such a difficult time. But the turning
point has now arrived, and the dawn once more sheds its light on a
confused and ignorant planet.  The Vishnu Purana, one of the oldest
sacred texts of India says about the Kali Yuga, "The leaders who rule
over the Earth will be violent and seize the goods of their
subjects... Those with possessions will abandon agriculture and
commerce and will live as servants, that is, following various
possessions. The leaders, with the excuses of fiscal need, will rob
and despoil their subjects and take away private property. Moral
values and the rule of the law will lessen from day to day until the
world will be completely perverted and agnosticism will gain the day
among men."

There are many other references to this division of time. For
instance, in the Bible, Nebuchandnezzar's dream (Daniel 2:31-45) was
of a bright and terrible image with a head of finest gold, chest of
silver, hips of brass and legs of iron. The feet and toes were of iron
mixed with clay. This image was destroyed by stone, unmade by human
hands, which crushed the feet to dust and the pieces blew away in the
wind. Although Daniel the prophet  interpreted the various metals as
the world empires which succeeded Babylon, the dream also has a more
cosmic meaning. It represents the great yugas. The iron legs are the
Iron Age or Kali Yuga which deteriorates at the end of its cycle into
the present unstable civilisation symbolised by the feet of iron and
clay. The prophet interpreted the stone as the true kingdom of God
which would replace the other civilisations as the real and lasting
Kingdom.

THE END OF A WORLD

This end only appears to be the "end of the world," without any
reservation or specification of any kind, to those who see nothing
beyond the limits of this particular cycle; a very excusable error of
perspective it is true, but one that has nonetheless some regrettable
consequences in the excessive and unjustified terrors to which it
gives rise in people who are not sufficiently detached from
terrestrial existence; and naturally they are the very people who form
this erroneous conception most easily, just because of the narrowness
of their point of view. ...the end now under consideration is
undeniably of considerably greater importance than many other, for it
is the end of a whole Manvantara, and so of the temporal existence of
what may rightly be called a humanity, but this, it must be said once
more, in no way implies that it is the end of the terrestrial world
itself, because, through the "reinstatement" that takes place at the
final instant, this end will itself immediately become the beginning
of another Manvantara...if one does not stop short of the most
profound order of reality, it can be said in all truth the "end of a
world" never is and never can be anything but the end of an illusion.
(Rene Guenon, 'The Reign of Quantity and The Signs of the Times' -
Internet.).

Robert.

This follows up on my message on Sonnet # 59 posted this morning,
where a clue to the sonnet's construction was embedded in the Cipher
Value of the first two lines, 37566 as in 1 + 37565 = 37566.

The last two lines of Sonnet # 58 -

I am to waite, though waiting so be hell,               =  17929
Not blame your pleasure be it ill or well.              =  18592 = 36521

- introduce the temporal aspect of the Poet's Drama.

A quick look at the "usual suspects" in this respect insofar as the
imagery of Augustan-Saga-Shakespeare Myth is concerned -

I:  15621 + 345 + 4600 + 14859 + 216 + 10 - 4627 + 5497 = 36521,

where 15621 = The Tragedie of Hamlet, Prince of Denmarke; 4600 =
Scialetheia; 14859 = The Second Shakerley Rash-Swash; 5497 = Et in
Arcadia Ego (alias 'Richard Baines', 5497) with 345, 216, 10, and -
4627 as in previous postings;

II:  2322 + 11384 + 21 + 14786 + 9008 - 1000 = 36521,

where 2322 = Mithraic Number Symbol for Autumnal Equinox, when Sol's
power goes into decline; 11384 = Christopher Marlowe; 21 = Gates of
Hell; 14786 = Gorgon, Or the Wonderfull Yeare; 9008 = Duration (of -
1000 = Darkness) which in Gorgon Myth 'begins' with Marlowe's
departure for Rheims, as 'documented' by the Privy Council's letter to
Cambridge University on 'his' behalf on June 29, 1587, and 'ends' with
the 'burning' of The Globe 26 years later (as in the number, 26, of
generations in the Cycle of Moses) on June 29, 1613 as in 2904 + 1587
+ 2904 + 1613 = 9008;

III:  1 + 3563 + 2307 + 1241 + 4600 - 1000 + 5497 + 13159 + 7153 =
36521

where Monad's, 1, Incarnation in Nature, 3563, is 'dated' September
23, 1241 (the date of Snorri Sturluson's "murder" on Autumnal Equinox
1241); with Monad's transformation from Scialetheia (4600) in
'hellish' Darkness, - 1000, to Et in Arcadia Ego, 5497, (as in Richard
Baines = 5497) concluding on Ártíð Snorra Fólgsnarjarls, 13159,
[Icelandic for Anniversary of the Death of Snorri Hidden Earl/Penis],
with Man's Redemption as symbolized by the Comma of Pythagoras, 7153.

- suggests that the last two lines may have served as key reference
marker for essential aspects of Shakespeare Myth.

The complete text and Cipher Values of Sonnet # 58 are as follows:

That God forbid, that made me first your slaue,    =  19025
I should in thought
                controule your times of pleasure,   =  26520
Or at your hand th' account of houres to craue,    =  20924
Being your vassail bound to staie your leisure.    =  21887
Oh let me suffer (being at your beck)              =  13681
Th' imprison'd absence of your libertie,           =  16574
And patience tame, to sufferance bide each check,  =  16648
Without accusing you of iniury.                    =  16882
Be where you list, your charter is so strong,      =  22294
That you your selfe may priuiledge your time       =  20151
To what you will, to you it doth belong,           =  19769
Your selfe to pardon of selfe-doing crime.         =  17365
I am to waite, though waiting so be hell,          =  17929
Not blame your pleasure be it ill or well.         =  18592 = 268268

With Monad/Cosmic Creative Power personified as Prince Hamlet in
Shakespeare's play, the drama's Beginning would be marked by Hamlet's
reflections in Act III, Sc. ii (First Folio):

'Tis now the verie witching time of night,         =  20620
When Churchyards yawne
                   and Hell it selfe breaths out    =  24057
Contagion to this World.
                     Now could I drink hot blood,   =  25916
And do such bitter businesse as the day            =  16280
Would quake to looke on.  Soft now, to my mother.  =  24009
Oh Heart, loose not thy Nature; let not euer       =  19877
The Soule of Nero enter this firme bosome;         =  18779
Let me be cruell, not vnnaturall;                  =  14310
I will speake Daggers to her, but vse none;        =  18301
My Tongue and Soule in this be Hypocrites.         =  18569
How in my words someuer she be shent,              =  18555
To giue them Seales, neuer my Soule, consent.      =  22291 = 241564

With The End, 100, being foreshadowed by The Beginning, 268268 as in
100 + 268268 = 268368,

Prince Hamlet's soliloquy relates Monad's transformation from
Scialetheia (A Shadow of Truth) to Et in Arcadia Ego (And I in
Arcadia) in historical time from the date of Snorri Sturluson's
"murder" at Autumnal Equinox on September 23, 1241, to Redemption on
Ártið Snorra Fólgsnarjarls,

as in 241564 + 4600 + 2307 + 1241 + 5497 + 13159 = 268368.

The following message, posted today to the HLAS list, underscores the
central importance of Shakespeares Sonnets in Francis Bacon's project:

Robert.

Thanks for posting Sonnet # 59 and restating its contents in plain
language.

At first glance, it occurred to me that the imagery is of a kind
whereby the Sonnets' Author might 'document' the essential UNITY of
the Saga Literature of 13th century Iceland and the Shakespeare Opus
of Elizabethan/Jacobean England.

And, as I checked out the Sonnets' Cipher Values, the first two lines -

If their bee nothing new, but that which is,         =  19725
Hath beene before, how are our braines beguild,      =  17841 = 37566

-  immediately brought to mind the prefatory material of Emblem # 34
in 'Minerva Britanna' as 'penned' by invisible Monad as on the work's
frontispiece -

Monad                                                 =      1

Ex malis moribus bonæ leges.                         =  11922
[From the death of evil, a legacy of good.]

To the most iudicious, and learned,                   =  15049
Sir FRANCIS BACON, Knight.                            =  10594 = 37566

How, then, might Monad as presumptive Author have built the Answer to
the Questions raised in Sonnet # 59 into its text?

Monad                                           =      1

If their bee nothing new, but that which is,    =  19725
Hath beene before, how are our braines beguild, =  17841
Which laboring for inuention beare amisse       =  18626
The second burthen of a former child?           =  14890
Oh that record could with a back-ward looke,    =  19622
Euen of fiue hundreth courses of the Sunne,     =  19855
Show me your image in some antique booke,       =  18418
Since minde at first in carrecter was done.     =  19258
That I might see what the old world could say,  =  21138
To this composed wonder of your frame,          =  18696
Whether we are mended,or where better they,     =  20338
Or whether reuolution be the same.              =  16629
Oh sure I am the wits of former daies,          =  16788
To subiects worse haue giuen admiring praise.   =  21621 = 263446

This is mirrored in the Cipher Sum 11359 + 10594 + 241493 = 263446,
where

11359 = Snorri Sturluson (d. 1241) - the Icelandic sage and literary
master, who embedded the Saga-Shakespeare Cipher Key into a single
sentence in the oldest extant Icelandic skin manuscript, whence I
extracted in 30 years ago;

10594 = Sir Francis Bacon, Knight - Snorri Sturluson's "successor" as
sage and literary master in Elizabethan/Jacobean England; and

241493 = the Cipher Value of the two-verse poem under Emblem # 34:

The Viper here, that stung the sheepheard swaine, =  21993
(While careles of himselfe asleepe he lay,)       =  15505
With Hysope caught, is cut by him in twaine,      =  20621
Her fat might take, the poison quite away,        =  18154
And heale his wound, that wonder tis to see,      =  20149
Such soveraigne helpe, should in a Serpent be.    =  19232

By this same Leach, is meant the virtuous King,   =  20053
Who can with cunning, out of manners ill,         =  20110
Make wholesome lawes, and take away the sting,    =  20557
Wherewith foule vice,
                  doth greeue the virtuous still:  =  28164
Or can prevent, by quicke and wise foresight,     =  20037
Infection ere, it gathers farther might.          =  16918 = 241493

See
http://www.fbrt.org.uk/pages/apollo/descriptions/description-apollo.html
for Peter Dawkins' construction of the mythical imagery reflected in
the accompanying emblem which shows Francis Bacon wielding a Rod to
kill a Serpent - the Staff of Moses in Exodus 4:1-5 "That they may
believe that the LORD God of their fathers, the God of Abraham, the
God of Isaac, and the God of Jacob, hath appeared unto thee.

A crazy-ass* notion by the lights of Stratfordian Fundamentalists -

* (Copyright David Kathman)

- documented for the record by Abraham Cowley in 'Ode to the Royal
Society' in the 17th century as follows:

Bacon, like Moses, led us forth at last,
The barren wilderness he past,
Did on the very border stand
Of the blest promis'd land
And from the mountain's top of his exalted wit,
Saw it himself, and shew'd us it.

Later, Perce Bysshe Shelley wrote of Bacon's 'exalted wit' as follows:

"Lord 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."

A strain that drives crazy-ass* Stratfordians up and off the wall.

* (Copyright David Kathman)

From: "gangleri" <gunnar.tomas...@...>
Local: Fri,Jun 10 2005 4:40 pm
Subject: Shakespeare - World of the Golden Age Philosopher

Prologue

After posting my message on the "Was Shakespeare a philosopher" thread
today, June 10, at 1:39 pm, it occurred to me to check whether the
"uninhabited island" featured in 'The Tempest' might be the mythical
locus of the World's Creation symbolized by Þrídrangr, 5003, in the
Settlement Myth of 9th century Iceland.

In short order, I found that the Cipher Value of the opening stage
directions in 'The Tempest' (First Folio) - A tempestuous noise of
Thunder and Lightning heard, 22795 - is mirrored in the Cipher Sum
5003 + 7128 + 7 + 345 + 3635 + 6677 = 22795.

This would accord with the hypothesis that 'The Tempest' concerns the
Creation of the World at Þrídrangr, 5003, on God's Command (Gen. 1:3)
"Let there be light!", 7128,  at which Microcosmic MAN-Beast of
Seventh Day, 7, enters the stage as 'deformed first heire' of the
Creator's 'inuention', with the 'foundation' of MAN-Beast's 'virgin'
Psyche denoted by Triangle 3:4:5 or 345.

The residual Cipher Values would relate this Pagan imagery to the
Christian concept of Spirit's Incarnation in Creation in Time and
Space - "Behold, a virgin shall be with child, and shall bring forth a
son, and they shall call his name Emmanuel [3635], which being
interpreted is, God with us [6677] - as summarized in Matt. 1:23 of
the King James Bible.

So far so good!

What, then, about the opening dialogue in 'The Tempest'?

Enter a Ship-master, and a Boteswaine.  =  15661
Master:
Bote-swaine.  =  6016
Boteswaine:
Heere Master:  What cheere?  =  10964
Master:
Good:  Speake to th' Mariners: fall too 't, yarely,  =  18692
Or we run our selues a ground, bestirre, bestirre.  [Exit.  =  27209 =
78542

Bull's eye!

For this mirrors the Cipher Sum 45319 - 1 + 11931 + 25920 - 4627 =
78542, where 45319 = The Zodiac* above is held to be projected onto
Earth below through;

- 1 = Monad's transformation into

11931 = Saga-Shakespeare Cipher Key** alias 'hidden light' for the
duration of

25920 = A Platonic Great Year; with the "exit" of

- 4627 = Francisco [see my post at 1:39 pm]

concluding the Creative Process launched by God's command, Let there
be light.

*  Twelve Houses of the Zodiac are:

Leo-Virgo-Libra-Scorpio-Sagittarius-Capricornus  =  24629
Aquarius-Pisces-Aries-Taurus-Gemini-Cancer.      =  20690 = 45319

**  Einar Pálsson began the second paragraph of his 1969 presentation
of the world-view of Iceland's 9th-century settlers as follows:

"Numerology resides in the world.  Men safeguard that numerology in
letters that are called runes."

The ancients are here construed to have viewed numerology as an
attribute of the Divine Presence at the level of Microcosmic
MAN-Beast's Psyche; as one with the Light that is Emmanuel and, when
interpreted, God With Us.

The Cipher Value of the Saga-Shakespeare Cipher Key itself is the sum
of its components, A = 73; B = 116; C = K; D/Ð = 225; E = 228; F =
285; G = 325; H = 376; I/J/Y = 425; K = 449; L = 504; M = 542; N =
569; O = 660; P = 683; Q = 770; R = 821; S = 896;T/Þ = 923; U/V = 949;
X = 1018; Z = 1094 as in

73 + 116 + 225 + 228 + 285 + 325 + 376 + 425 + 449 + 504 + 542 + 569 +
660 + 683 + 770 + 821 + 896 + 923 + 949 + 1018 + 1094 = 11931.


The Workes of William Shakespeare

In Shakespeare Myth, as here construed, the imagery of ancient
Creation Myth which Iceland's Norse and Irish 9th-century settlers
brought with them to the New Land was re-cast through the
personification of 'deformed first heire' of William Shakespeare's
'inuention' as Stratfordian Gulielmus, filius Johannes Shakspeare
alias Will Shakspere gent, alias

16160 = 'Tygers hart wrapt in a players hyde' during

25920 = A Platonic Great Year, with Light of the World/Emmanuel/God
With Us breaking free of the fetters of Time and Space alias

- 4627 = Francisco; through transformation by metamorphosis into

4000 = Flaming Sword at

100 = The End, as in

16160 + 25920 - 4627 + 4000 + 100 + 262237* = 303790.**


*  The Cipher Value of the First Folio's introduction of

The Workes of William Shakespeare,  =  16746
Containing all his Comedies, Histories, and  =  17935
Tragedies: Truely set forth,  =  13106
according to their first Originall.  =  16008

and Actors therein who are all Spirits:

The names of the principall actors in all these playes.  =  22800

WILLIAM SHAKESPEARE  =  9322
Samuel Gilburne, Richard Burbadge,  =  13172
Robert Armin, John Hemmings,  =  11932
William Ostler, Augustine Philips,  =  18236
Nathan Field, William Kempt,  =  11446
John Underwood, Thomas Poope,  =  14649
Nicholas Tooley, George Bryan,  =  11943
William Ecclestone, Henry Condell,  =  15063
Joseph Taylor, William Slye,  =  13098
Robert Benfield, Richard Cowly,  =  13275
Robert Goughe, John Lowine,  =  12746
Richard Robinson, Samuell Crosse,  =  15552
John Shancke, Alexander Cooke, John Rice.  =  15208 = 262237


** The Tempest concluded

Epilogue  =  4002
Spoken by Prospero  =  9478

Now my charmes are all ore-throwne,  =  16866
And what strength I have's mine owne.  =  17264
Which is most faint: now 'tis true  =  18433
I must be heere confinde by you,  =  11945
Or sent to Naples, let me not  =  13210
Since I have my Dukedome got,  =  10999
And pardon'd the deceiver, dwell  =  12562
In this bare Island, by your spell,  =  13755
But release me from my bands  =  10890
With the helpe of your good hands:  =  14977
Gentle breath of yours, my Sailes  =  13999
Must fill, or else my proiect failes,  =  15932
Which was to please: now I want  =  17601
Spirits to enforce: art to inchant,  =  16676
And my ending is despaire,  =  9075
Vnlesse I be relieu'd by praier  =  12011
Which pierces  so, that it assaults  =  17663
Mercy it selfe, and frees all faults.  =  13990
As you from crimes would pardon'd be,  =  16508
Let your Indulgence set me free.   Exit.  =  15954 = 303790

****

The Saga-Shakespeare Cipher Key and Calculator is posted on the
Internet at http://www.light-of-truth.com/gunnartomasson/ciphers.htm

Fri,Jun 10 2005 1:39 pm

Subject: Re: Was Shakespeare a philosopher?

Re. the following:

Do you have any charts, etc. that show archetypal parallels from
Shakespeare to Saga literature? I know you often list items, along
with the Gematria, but it would help people discuss this with you if
you put the information in one place.

Comment:

The archetypal pattern is vast and does not lend itself to brief
encapsulation - a friend of mine, the late Einar Pálsson (d. 1996),
spent five decades in researching it in the context of what he termed
'Roots of Icelandic Culture', providing an overview of his findings in
eleven books published in Icelandic and three books in English.

The pattern's complexity is vividly exemplified in the figure of
Hamlet.

Briefly, Hamlet first appeared in Icelandic myth as Amlóði, which is
Icelandic for Fool.  In turn, Danish historian Saxo Grammaticus
elaborated the myth in Latin, with Amlóði becoming Amleticus in the
process.

But, as detailed by Giorgio de Santillana in a book whose title page
reads 'Hamlet's Mill - An Essay Investigating the Origins of Human
Knowledge and its Transmission through Myth', the Hamlet figure is a
universal one and has appeared under different labels in all parts of
the world since pre-historic times.

"...it was a surprise," de Santillana wrote, "to find behind the mask
an ancient and all-embracing cosmic power - the original master of the
dreamed-of first age of the world.

"Yet in all his guises he remained strangely himself.  The original
Amlodhi, as his name was in Icelandic legend, shows the same
characteristics of melancholy and high intellect.  He, too, is a son
dedicated to avenge his father, a speaker of cryptic but inescapable
truths, an elusive carrier of Fate who must yield once his mission is
accomplished and sink once more into concealment in the depths of time
to which he belongs: Lord of the Golden Age, the Once and Future King.
[...]

"Amlodhi was identified, in the crude and vivid imagery of the Norse,
by the ownership of a fabled mill which, in his own time, ground out
peace and plenty.  Later, in decaying times, it ground out salt; and
now finally, having landed at the bottom of the sea, it is grinding
rock and sand, creating a vast whirlpool, the Maelstrom (i.e., the
grinding stream, from the [Icelandic] verb mala, "to grind"), which is
supposed to be a way to the land of the dead.  This imagery stands, as
the evidence develops, for an astronomical process, the secular
shifting of the sun through the signs of t he zodiac which determines
world-ages, each numbering thousands of years.  Each age brings a
World Era, a Twilight of the Gods.  Great structures collapse; pillars
topple which supported the great fabric; floods and cataclysms herald
the shaping of a new world."

Core aspects of the myth have remained constant through the ages - for
example, the Sun's "secular shifting through the signs of the zodiac"
is mirrored in the concept of a Platonic Great Year of 25920 calendar
years, which I construe as one with the Hebrew Seventh Day of Creation.

In the context of myth, Archetypal MAN-Beast of Seventh Day IS
Creation in Time and Space viewed as a "sacred" projection of the
Zodiac Above onto Earth Below.  In the opening scene of Hamlet,
Archetypal MAN-Beast is represented by 'sicke-at-heart' Francisco, the
Cipher Value of whose name, 4627, mirrors the Cipher Sum of the
Icelandic for Time/Tími, 2315, and Space/Rúm, 2312 as in 2315 + 2312 =
4627.

And - this is certain to come as complete surprise to most students of
Hamlet on this forum - Francisco's "exit" denotes the end of a
Platonic Great Year as in 25920 - 4627 = 21293, where "sicke-at-heart"
MAN-Beast is transformed into Brave New World, as in 'The Tempest'.

Long before my discovery in the 1970s of the Saga-Shakespeare Cipher
Key, Einar Pálsson had identified details of the mythical Creation of
the World as envisaged by Iceland´s settlers in the 9th century.  In
his first book published in 1969, Einar began his account of the
world-view of the Founding Fathers as follows:

"The world was created on a small island off the south coast of
Iceland.  The name of the island is Þrídrangr."  The Cipher Value of
Þrídrangr is 5003.  As for the "world" itself, it was represented by
a Pythagorean Triangle 3:4:5 drawn between three landmarks in the
original settlement known as Bergþórshváll, 7196, Miðeyjarhólmr,
6067, and Helgafell, 3027.

In Shakespeare's play, the "exit"/"death" of Microcosmic MAN-Beast
Francisco, 4627, at the end of a Platonic Great Year, 25920, would
mark the advent of a Brave New World, 25920 - 4627 = 21293.

As in the Cipher Number of Saga Myth's Primordial World, 5003 + 7196 +
6067 + 3027 = 21293.

The World of the Golden Age.

Newsgroups: humanities.lit.authors.shakespeare
Local: Wed,Jun 8 2005 5:42 pm
Subject: Here is Wisedome - The Number of the Marlovian Beast

Prologue

Orthodox Stratfordian scholars take vehement exception to the
suggestion that Gematria, which the ancient sages held to be an
important tool in their quest for understanding of Man's Cosmos, might
help shed light on still un-resolved aspects of the Shakespeare
Mystery - witness recent postings on related issues by Stratfordians
Veal, Kathman, Ross, Reedy, Grumman, and Groves.

Among the reasons given by these distinguished scholars for their
view, one key reason has gone unmentioned:

If it were in fact so, then ALL their claimed expertise in the field
would at once become suspect as fundamentally misguided and, most
likely, worthless.


These distinguished scholars also have reason to dispute any
suggestion to the effect that parts of the Shakespeare Opus, including
the First Folio, may have been textually coordinated with parts of the
King James Bible - for if it were so, then the bottom would fall out
of their Stratfordian-as-Author position.

In brief, having all their intellectual capital in the field of
Shakespeare Studies invested in the Stratfordian cause, orthodox
scholars are implacably hostile to any and all contrary construction
of the record.

The translators of the King James Bible, the manuscript of which is
said to have been with Francis Bacon for a year prior to its printing,
seem to have taken a different view of Gematria, with Rev. 13: 18
seeming to identify it as KEY to the "understanding" of the mystical
contents of the Book of Revelations:

Here is wisedome.  =  8076
Let him that hath vnderstanding,  =  13838
count the number of the beast:  =  13010
for it is the number of a man,  =  11389
and his number is, sixe hundred threescore and sixe.  =  22134 = 68447

In this respect, and without further ado, the admonition to "count the
number of the beast" is explored below insofar as it may relate to the
imagery of the Shakespeare Mystery, including its still unresolved
Marlovian aspects.


Wisedome and the Shakespeare Mystery

The Cipher Value of "sixe hundred threescore and sixe" is 15024.

As detailed below, this Cipher Value appears to have served as anchor
for the 'documentation' of salient attributes of Microcosmic MAN in
the Shakespeare Opus and associated Marlovian Myth - in the vocabulary
of myth, it should be noted, MAN is both Male and Female - e.g.
Claudius and Gertrude in Hamlet.

The Beast  =  666
Gertrude  =  4520
Christopher Morley  =  9838 = 15024

In medieval Christian Myth, the number 666 is identified with Monad as
JESUS - or Spirit "crucified" on the Cross of Microcosmic Man, which
in ancient myth is identified with Creation in Time and Space alias
The World/Globe.

Monad  =  1
I thirst [Jesus on the Cross, John 19:28].  =  4789
The Beast  =  666
Claudius  =  4470
Darkness  =  -1000
It is finished. [Jesus Cross-death, John 19:30] =  6098 = 15024

The Marlovian aspect of Shakespeare Myth associates The End of
Spirit/Light of the World's Crucifixion with the 'death' of The Beast
on May 30, 1593 - the 'documented' date of Marlowe's 'murder':

Light of the World  =  1000
The Beast  =  666
Alias  =  15024
May 30  =  3003
1593  =  1593
The End  =  100 = 21386

Marlowe's three companions are identified with "fame" - as in the
opening line of 'Loues Labour's Lost' - which the imagery of myth
associates with the 'seat' of Man's lower emotions, alias Anus or "the
second-best bed" of the Stratford household, which the Stratfordian
left to Anna Hathaway on departure for "the best bed" on Virgin's Mons
Veneris:

Fame  =  1128
Anus  =  2487
Ingram Frizer  =  6429
Nicholas Skeres  =  7470
Robert Poley  =  6069
Mons Veneris  =  6783
Death
-       Claudius  =  -4470
-       Gertrude  =  -4520
Two Fives become One Flesh  =  10 = 21386

Claudius and Gertrude denote MAN-Beast's Male and Female atttributes
in Hamlet - their "death" denotes MAN-Beast's transformation by
metamorphosis into Brave New Word, 8990 as in Claudius and Gertrude
become "one flesh" as in 4470 + 4520 = 8990.

Monad appears in myriad forms in the all creation myths, including
Claudius and Gertrude in Shakespeare's play.  In his Dedication of
Marlowe's translation of 'Lucans First Booke' in 1600, Thomas Thorpe
spoke of newly departed Monad as 'Pure Elementall Wit' and spelled his
name 'Christopher Marlow' as follows:

Pure Elementall Wit  =  10230
Christopher Marlow  =  11156 = 21386

As noted in earlier postings, Shakespeare Myth represents the tail-end
- and crowning achievement - of, by now, a two-thousand year old
literary tradition.  In this connection, the Icelandic sage and saga
master Snorri Sturluson built on the foundations provided by the Four
Augustan Poets in 1 century B.C. Rome and laid those on which Francis
Bacon and others build the Shakespeare Opus more than 350 years later
in Elizabethan/Jacobean England.

The Saga link to the imagery of Shakespeare Myth is documented through
"the number of the beast", alias Stratfordian Gulielmus filius
Johannes Shakspere/Will Shakspere gent, as follows:

Snorri Sturluson  =  11359
The Beast  =  666
Brownswerd  =  -4000
Tygers hart wrapt in a players hyde  =  16160
Johannes Fac Totum  =  8600
Stratfordian's Houre Vpon The Stage  =  35662 = 68447

As indicated by the identification of Jesus with the Number of the
Beast, 666, the moral of the story is NOT to belittle the Stratfordian
- for, as David Garrick had inscribed on his statue raised in
Stratford in 1768, "Take him for all in all" alias Monad manifested in
Creation in Time and Space as Archetypal MAN-Beast.

Redemption, symbolized by the Comma of Pythagoras, is held to come to
mythical Shake-Speare after he has 'fretted and strutted' his 'houre
vpon the stage' - gaining 'relief' in 'death' on Virgin's Mons Veneris
and becoming one with the Macrocosm as symbol of that Cosmic Creative
Power within Man's Psyche, which we are accustomed to identify with
and place in heaven 'above':

Shake-Speare  =  4951
Brownswerd  =  -4000
Alias The Beast  =  15024
Redemption/Comma of Pythagoras  =  7153
The Zodiac/Macrocosm  =  45319 = 68447

And, last but not least, the Cipher Value of the Twelve Houses of the
Zodiac -

Leo-Virgo-Libra-Scorpio-Sagittarius-Capricornus  =  24629
Aquarius-Pisces-Aries-Taurus-Gemini-Cancer  =  20690 = 45319

- mirrors the Cipher Value of Snorri Sturluson's Omega verse in the
Háttatal section of Edda:

Njóti aldrs  =  5521
ok auðsala  =  3902
konungr ok jarl,  =  7274
þat er kvæðis lok.  =  7826
Falli fyrr  =  4143
fold í ægi,  =  3150
steini studd,  =  6684
en stillis lof.  =  6819 = 45319

* May king and earl enjoy age of plenty, that is poem's end. May
rock-based earth sooner sink into the sea than praise be silenced.

****

The Saga-Shakespeare Cipher Key and Calculator are posted on the
Internet at http://www.light-of-truth.com/gunnartomasson/ciphers.htm

Putting it all together.

Gunnar

Jun 6, 7:29 pm     show options

Newsgroups: humanities.lit.authors.shakespeare
From: "gangleri" <gunnar.tomas...@...> - Find messages by this
author
Date: 6 Jun 2005 16:29:26 -0700
Local: Mon,Jun 6 2005 7:29 pm
Subject: Re: World Without End And Shakespeare Myth
Reply | Reply to Author | Forward | Print | Individual Message | Show
original | Remove | Report Abuse

All myth is psychology.

In the symbolic imagery of Augustan-Saga-Shakespeare Myth, Pythagorean
Triangle 345 denotes 'foundation' of MAN-Beast's Psyche - "deformed
heire" of Our Ever-living Poet's "first inuention" - and 216, the sum
of the three sides raised to the third power, as in 27 + 64 + 125 =
216, denotes the Psyche's 'resurrection' from its 'deformed' state.

The Psyche's taking leave of the Stratfordian couple's "second-best
bed" en route to its re-union with its First Originall - and "death" -
in the "best bed" on Virgin's Mons Veneris - may not be familiar terms
in modern psychology, but the imagery is both vivid and to the point.

The Psyche's "death" is such with respect to its erstwhile "deformed"
state - that is, it denotes the Psyche 'shuffling off its mortal coil'
via transformation by metamorphosis into Flaming Sword, 4000.

In the context, the "mortal coil" is that of MAN-Beast as Creation in
Time and Space alias Francisco, 4627, whose "exit" or "death" on Mons
Veneris is symbolized by a minus sign, as in - 4627.

All this imagery is encapsulated in the Cipher Sum 5385 + 378541 + 345
+ 216 + 4000 - 4627 + 63795 = 447655, where

5385 = Francis Bacon;

378541 = Dedication of 'Venus and Adonis'; and

****

TO THE RIGHT HONORABLE  =  9987
Henrie Vvriothesley, Earle of Southampton,  =  20084
and Baron of Titchfield.  =  8814

Right Honourable, I know not how I shall offend  =  21943
in dedicating my vnpolisht lines to your Lordship,  =  23463
nor how the worlde vvill censure mee for choosing  =  25442
so strong a proppe to support so vveake a burthen,  =  25266
onelye if your Honour seeme but pleased,  =  17161
I account my selfe highly praised,  =  13387
and vowe to take aduantage of all idle houres,  =  18634
till I haue honoured you vvith some grauer labour.  =  23217
But if the first heire of my inuention proue deformed,  =  23437
I shall be sorie it had so noble a god-father:  =  15796
and neuer after eare so barren a land,  =  12970
for feare it yeeld me still so bad a haruest,  =  16690
l leaue it to your Honourable suruey,  =  17417
and your Honor to your hearts content,  =  18884
vvhich I wish may alvvaies answere your ovvne vvish,  =  27199
and the vvorlds hopefull expectation.  =  17766

Your Honors in all dutie,  =  11662

William Shakespeare  =  9322 = 378541

****

63795 = Mission Accomplished!

****

The Workes of William Shakespeare,  =  16746
Containing all his Comedies, Histories, and  =  17935
Tragedies: Truely set forth,  =  13106
according to their first Originall.  =  16008 = 63795

Newsgroups: humanities.lit.authors.shakespeare

From: "gangleri"

Local: Mon,Jun 6 2005 6:18 pm

The Shakespeare Opus and Stratfordian Orthodoxy - A Great Feast of
Languages And Stolne Scraps?

Good question!

Here is Schoenbaum going the extra mile to obfuscate an interesting
fact which, if it was other than coincidental, is readily recognized
as wholly incompatible with the Orthodox Stratfordian construction of
the Shakespeare Record:

"More and more, in the earlier twentieth century, a rage for acrostics
and anagrams swept the Baconian legions.  Inevitably they were drawn
to the Clown's nonsense word in 'Love's Labor's Lost',
'Honorificabilitudinitatibus' - an unusually meaty morsel for the
hungry anagrammist to sink his teeth into.  (An informative brief
genealogy, tracing back the word to Papias, c. 1055, and noting its
use by Dante and Rabelais, is given by Douglas Hamer in his review of
the original edition of 'Shakespeare's Lives' in the 'Review of
English Studies', 22 (1971), 484.)  A piquant sauce was the fact that
the word appears among scribbled notes in the Northumberland
Manuscripts (found in 1867 in Northumberland House in the Strand),
which contain copies of some Baconian writings; it also occurs,
diagrammed, in the Bacon papers in the British Library.  (That it
should crop up here and there is in itself hardly surprising, for the
facetious coinage was popular; it did not originate with Shakespeare
but first entered print in the 'Catholicon' of Joannes Balbus as far
back as 1460. Etc. etc." ('Shakespeare's Lives', Second Edition,
Clarendon Press, Oxford, 1991, p. 420)

****

Here is the relevant exchange in the First Folio version of 'Loue's
Labour's Lost':

Boy:
They haue beene at a great feast of Languages,  =  15678
and stolne the scraps.  =  9992
Clown:
O they haue liu'd long on the almes-basket of words.  =  21528
I maruell thy M. hath not eaten thee for a word,  =  19431
for thou art not so long by the head as  =  16196
honorificabilitudinitatibus:  =  14034
Thou art easier swallowed then a flapdragon.  =  20669
Page:
Peace, the peale begins.  =  7463 = 124991

****

That's "peale" as in the Omega paragraph of Francis Bacon's Alpha
Essay 'Of Truth':

Surely the Wickednesse of Falshood, and Breach of Faith, cannot
possibly be so highly expressed, as in that it shall be the last
Peale, to call the Iudgements of God, vpon the Generations of Men, It
being foretold, that when Christ commeth, He shall not finde faith
vpon the earth.

****

In the context, the "last peale" marks the end of a World Age, 432000,
as in 7284 + 4371 + 4000 + 432000 = 447655, where

7284 = Jesus Christ

4371 = Will I Am!

4000 = Flaming Sword, and

124991 + 322664 = 447655.

Where 322664 is the Cipher Value of Berowne's report on the 'doctrine
deriued from womens eyes' - see my previous post.

The question of sanity - being "sicke at heart" - is raised in
Hamlet's opening scene, the First Folio text of which reads as follows
- with Cipher Values added:

Enter Barnardo and Francisco two Centinels.  =  19893

Barnardo:
Who's there?  =  6406
Francisco:
Nay answer me:  Stand & vnfold your selfe.  =  17196
Barnardo:
Long liue the King.  =  7459
Francisco:
Barnardo?  =  3358
Barnardo:
He.  =  604
Francisco:
You come most carefully vpon your houre.  =  19922
Barnardo:
'Tis now strook twelve, get thee to bed, Francisco.  =  24520
Francisco:
For this releefe much thankes: 'Tis bitter cold,  =  20256
And I am sicke at heart.  =  7771
Barnardo:
Haue you had quiet Guard?  =  10022
Francisco:
Not a Mouse stirring.  =  10705
Barnardo:
Well, goodnight.  =  7622
If you do meet Horatio and Marcellus,  =  15321
The Riuals of my Watch, bid them make hast.  =  17221

                Enter Horatio and Marcellus.  =  12540
Francisco:
I thinke I heare them.  Stand: who's there?  =  16707
Horatio:
Friends to this ground.  =  11201
Marcellus:
And Leige-men to the Dane.  =  8121
Francisco:
Giue you good night.  =  8449
Marcellus:
O farwel honest Soldier, who hath relieu'd you?  =  21976
Francisco:
Barnardo ha's my place: giue you good night.
                                     Exit Fran.  =  20398 = 287668

****

In the context of Augustan-Saga-Shakespeare Myth, where MAN-Beast of
Seventh Day IS Creation in Time and Space alias The World/The Globe,
the name of sicke-at-heart Francisco, 4627, provides an immediate clue
to "his" identity for it mirrors the Cipher Sum 2312 + 2315 = 4627,
where 2312 and 2315 are the Cipher Values of Icelandic for Space/Rúm
and Time/Tími.

In the specific context of Shakespeare Myth, "he" enters as Gulielmus
filius Johannes Shakspere, 17252, as 'documented' through his  baptism
on April 26, 1564 and exits the stage at The End, 100, as Will
Shakspere gent, 10026, as 'documented' through his burial on April 25,
1616 as in 17252 + 2602 + 1564 + 100 + 10026 + 2502 + 1616 = 35662,

In the imagery of myth, Alpha and Omega of the Stratfordian's "houre
vpon the stage" is linked to "womens eyes" - see below - alias "the
second-best bed" or 'seat' of Man's lower emotions at Alpha and 'well'
on Mons Veneris at Omega, where "sicke-at-heart" MAN-Beast, 666, exits
the stage as in 287668 + 35662 - 666 = 322664,

****

In Augustan-Saga-Shakespeare Myth, MAN-Beast is a "shadow" alias the
"darkness" of New Testament Myth, of which it says in John 1:5 - And
the light shineth in the darkness; and the darkness comprehended it
not.

And how might Cosmic Creative Power go about planting a seed of
comprehension in the Darkness?

That's where Gematria comes in - for even "he who can but spell" can
check for himself that the Gematria values of "hidden poetry" on
mythical themes which are otherwise far above his head do indeed sum
up the Cipher Values of relevant texts.

A case in point:

The Cipher Value of the "story" outlined above, 322664 is also that of
Berowne's telling of the "doctrine" which he claims to "deriue" from
"womens eyes" in Act IV, Sc. i of the First Folio version of 'Loue's
Labour's Lost' - I am indebted to Art Neuendorffer for posting a
reference thereto in connection with the concept of "charity".

Berowne
[...]
From womens eyes this doctrine I deriue.  =  19099
They sparcle still the right promethean fire,  =  20117
They are the Bookes, the Arts, the Achademes,  =  16467
That shew, containe, and nourish all the world.  =  21868
Else none at all in ought proues excellent.  =  19074
Then fooles you were these women to forsweare:  =  24579
Or keeping what is sworne, you will proue fooles,  =  25990
For Wisedomes sake, a word that all men loue:  =  20143
Or for Loues sake, a word that loues all men.  =  19759
Or for Mens sake, the author of these Women:  =  19950
Or Womens sake, by whom we men are Men.  =  17863
Let's once loose our oathes to finde our selues,  =  22437
Or else we loose our selues, to keepe our oathes:  =  23527
It is religion to be thus forsworne.  =  18535
For Charity it selfe fulfills the Law:  =  17101
And who can seuer loue from Charity.  =  16155 = 322664

****
The Saga-Shakespeare Cipher Key and Calculator is posted on the
Internet at http://www.light-of-truth.com/gunnartomasson/ciphers.htm

Local: Sun,Jun 5 2005 4:06 pm
Subject: World Without End And Shakespeare Myth


I am indebted to Art Neuendorffer for posting two key references to
the concept of World-Without-End, which I looked up today.

The first reference in Paul's epistle to the Ephesians (3:21) reads as
follows in the King James Version (1611), with Cipher Values added*:

Vnto him be glory in the Church by Christ Iesus,  =  21289
throughout all ages, world without end.  Amen.  =  22261 = 43550

The second reference is an exchange in 'Love's Labour's Lost', whose
First Folio text reads as follows:

King:
Now at the latest minute of the houre,  =  18339
Grant vs your loues.  =  10648
Queen:
A time me thinkes too short,  =  12746
To make a world-without-end bargaine in;  =  17856 = 59589

****

It should be noted up front that the Cipher Value of World Without
End, 11284, is immediately suggestive of how the concept is to be
construed in the context of Shakespeare Myth, for it mirrors the
Cipher Sum 7284 + 4000 = 11284, where Jesus Christ, 7284, is
associated/identified with World-ending Flaming Sword, 4000, where the
"world" in question is Creation in Time and Space alias Microcosmic
MAN-Beast of Seventh Day.

Also, in Shakespeare Myth, the "gestation" period for Light of the
World's transformation into Flaming Sword, 4000, is held to begin in
Hell's Darkness, - 1000, on April 26, 1564, and end on April 25, 1616
as in 2602 + 1564 - 1000 + 4000 + 2502 + 1616 = 11284.

In the interest of brevity, the 'story lines' reflected in Cipher
Language below are presented without "translation" - any who have
followed previous postings on the subject matter should be able to
make the "translation" for themselves.

****

The Cipher Value of the biblical reference to World Without End is
mirrored in two sets of Cipher Values:

General:  10230 + 11931 + 11156 + 7 + 10226 = 43550, where

10230 = 'Pure Elementall Wit';

11931 = Saga-Shakespeare Cipher Key;

11156 = 'Christopher Marlow';

7 = MAN-Beast of Seventh Day;

10226 = Symbols of the Cross

[East/Darkness = - 1000; South/The Holy Ghost = 108; West/Graal =
1796; and North/Will I Am!  Shake Speare!, 9322 as in - 1000 + 108 +
1796 + 9322 = 10226]


Specific: 1 + 35662 + 216 + 7671 = 43550, where

1 = Monad;

35662 = Stratfordian's 'Houre Vpon The Stage';

216 = Resurrection

[the sides of Triangle 3:4:5 raised to the third power as in 27 + 64 +
125 = 216]; and

7671 = O RARE BEN JOHNSON

[the SURPRISE "identity" of Archetypal Stratfordian in Shakespeare
Myth!]

****

The Cipher Value of 'Love's Labour's Lost' reference to World Without
End serves to tie the General and Specific together in the Cipher Sum
10230 + 11156 + 7 + 2534 + 35662 = 59589, where

10230 = 'Pure Elementall Wit';

11156 = 'Christopher Marlow';

7 = MAN-Beast of Seventh Day; alias

2534 = Satan [archetypal 'rival' of William Shakespeare alias Ben
Jonson] playcast as

35662 = Archetypal Stratfordian during his 'strutting and fretting
houre vpon the stage'.


*  The Saga-Shakespeare Cipher Key and Calculator is posted on the
Internet at http://www.light-of-truth.com/gunnartomasson/ciphers.htm

This message is in two parts.

Gunnar

Part I.

This morning, a poster on HLAS explained that::

The Candidate is one who scourges Hades. it would be interesting to
image such a candidate!

I responded as follows:

Comment:

Prince Hamlet and Jesus are two such.

1.  [The Prince after encounter with Father's Spirit]: O all you host
of heaven!  O earth!  What else?  And shall I couple hell?  O fie!
Hold, hold, my heart!  And you, my sinnews, grow not instant old, But
bear me stiffly up. (Act I, Sc. v)

2.  [Jesus after "a voice from heaven [says] This is my beloved Son,
in whom I am well pleased. Matt. 3:17]  Then was Jesus led up of the
Spirit into the wilderness to be tempted of the devil.  And when he
had fasted forty days and forty nights, he was afterward an hungred.
[....]  Then saith Jesus unto him, Get thee hence, Satan: for it is
written, Thou shalt worship the Lord thy God, and him only shalt thou
serve.  Then the devil leaveth him, and, behold, angels came and
ministered unto him. (Matt. 4:1-2 and 4:10-11]

Compare:

Good-night, sweet prince, And flights of angels sing thee to thy rest!
(Act V, Sc. ii)


Part II.

Just now, I posted a follow-up message:

The Number Thing

As prologue to the analysis to follow, I submit that the Shakespeare
Opus is properly viewed as including the King James Bible, whose
manuscript was with Francis Bacon for a year or so before its printing
in 1611 - the year of the publication of the Q3 version of Hamlet.

I also note that, to the best of my knowledge, neither literary nor
biblical scholars of any persuasion have ever suggested, as I did in
my today's message posted at 1.14 pm, that Prince Hamlet was
Shakespeare's counterpart to the biblical Prince of Peace.

It occurred to me this afternoon that IF there is merit to my
suggestion, THEN The Number Thing - assuming it to be all I have
claimed it to be - MUST somehow show up in (a) the 1611 texts of Matt.
4:1-11, and (b) the climactic dialogue in Act V, Sc.ii through Prince
Hamlet being committed to the ministration of angels.

As further background, it should be explained that the Prince
Hamlet/Prince of Peace identity is predicated on the ancient imagery
of Light and Shadow being "brothers" at the level of Microcosmic Man's
Psyche, with the Shadow aspect being the "deformity" noted in the
Dedication of 'Venus and Adonis':

TO THE RIGHT HONORABLE  = 9987
Henrie Vvriothesley, Earle of Southampton,  =  20084
and Baron of Titchfield.  = 8814
Right Honourable, I know not how I shall offend  =  21943
in dedicating my vnpolisht lines to your Lordship,  =  23463
nor how the worlde vvill censure mee for choosing  =  25442
so strong a proppe to support so vveake a burthen,  =  25266
onelye if your Honour seeme but pleased,  =  17161
I account my selfe highly praised,  =  13387
and vowe to take aduantage of all idle houres,  =  18634
till I haue honoured you vvith some grauer labour.  =  23217
But if the first heire of my inuention proue deformed,  =  23437
I shall be sorie it had so noble a god-father:  =  15796
and neuer after eare so barren a land,  =  12970
for feare it yeeld me still so bad a haruest,  =  16690
l leaue it to your Honourable suruey,  =  17417
and your Honor to your hearts content,  =  18884
vvhich I wish may alvvaies answere your ovvne vvish,  =  27199
and the vvorlds hopefull expectation.  =  17766

Your Honors in all dutie,  =  11662

William Shakespeare  = 9322 = 378541

****

Compare Hamlet's 'dying' scene, beginning at the top of the omega page
of the Q3 version of the play - typographical 'error' marked by * is
in the original:

Hamlet:
O God Horatio!  what a wounded name  =  15317
Things standing thus vnknowne, shall I leaue behind me?  =  24023
If thou didst euer hold me in thy heart,  =  16212
Absent thee from felicity a while,  =  14036
And in this harsh world draw thy breath in paine  =  21381
To tell my story:  what warlike noise is this?  =  22821

A march a farre off.  =  5865
Enter Osrick.  =  6469

Osric:
Young Fortinbrasse with conquest come from Poland,   =  25608
Th* th'embassadors of England giues this warlike volly.  =  24345
Hamlet:
O I die Horatio.  =  5901
The potent poyson quite ore-growes my spirit,  =  24378
I cannot liue to heare the newes from England,  =  19230
But I do prophesie the election lights  =  17260
On Fortinbrasse, he has my dying voyce,  =  15538
So tell him with th'occurrants more and lesse  =  22459
Which haue solicited, the rest is silence.  =  18900
Horatio:
Now cracks a noble heart, good night sweet Prince,  =  22671
And flights of Angels singe thee to thy rest.  =  18514 = 340928

I submit that this signals the end of Light of the World's, 1000,
association with The Devil of Matt. Ch. 1-11, alias Brownswerd, -
4000, Shake-Speare, 4951, the Alpha and Omega of whose 'houre vpon the
stage', 35662, is 'documented' in the Stratfordian's 'baptismal' and
'burial' entries in Holy Trinity Church 'records', as in

340928 + 1000 - 4000 + 4951 + 35662 = 378541,

****

In a message posted a few days ago, I suggested that Prince Hamlet was
Edward Oxenford's alter ego in the context of Shakespeare Myth.  IF
there is merit in this suggestion AND my hypothesis that Oxenford's
letter to Robert Cecil -

My very good brother, yf my helthe hadd beene to my mynde I wowlde
have beene before this att the Coorte as well to haue giuen yow
thankes for yowre presence at the hearinge of my cause debated as to
have moued her M for her resolutione.  As for the matter, how muche I
am behouldinge to yow I neede not repeate but in all thankfulnes
acknowlege, for yow haue beene the moover & onlye follower therofe for
mee & by yowre onlye meanes I have hetherto passed the pykes of so
many adversaries.  Now my desyre ys. Sythe them selues whoo have
opposed to her M ryghte seeme satisfisde, that yow will make the ende
ansuerabel to the rest of yowre moste friendlye procedinge.  For I am
aduised, that I may passe my Booke from her Magestie yf a warrant may
be procured to my Cosen Bacon and Seriant Harris to perfet yt.  Whiche
beinge doone I know to whome formallye to thanke but reallye they
shalbe, and are from me, and myne, to be sealed up in an aeternall
remembran&e to yowreselfe.  And thus wishinge all happines to yow, and
sume fortunat meanes to me, wherby I myght recognise soo diepe
merites, I take my leave this 7th of October from my House at Hakney
1601.

Yowre most assured and louinge

Broother

Edward Oxenford

- which contains Oxenford's only extant reference to Francis Bacon to
whom Oxenford wished to "passe his Booke" from Her Majesty "to perfet
yt", is THE KEY to the puzzle of the Shakespeare Authorship Issue,
THEN it would stand to reason that the climactic representation of the
Prince Hamlet/Prince of Peace identity would somehow be linked to the
letter's Cipher Value of 511378.

****

Compare the Introductory Summary and account of Jesus' temptation by
The Devil in Matt. 4:1-11:

Christ fasteth, and is tempted.  The Angels minister vnto him.  =  26929

Then was Iesus led vp of the Spirit into the Wildernesse,  =  28613
to bee tempted of the deuill.  =  11214
And when hee had fasted forty dayes and forty nights,  =  20530
hee was afterward an hungred.  =  13181
And when the tempter came to him, hee said,  =  16482
If thou be the Sonne of God,  =  10566
command that these stones bee made bread.  =  15281
But he answered, and said, It is written,  =  18472
Man shall not liue by bread alone,  =  11833
but by euery Word that proceedeth out of the mouth of God.  =  26509
Then the deuill taketh him vp into the holy Citie,  =  20924
and setteth him on a pinacle of the Temple,  =  16520
And saith vnto him,  =  8004
If thou bee the Sonne of God, cast thy selfe downe:  =  20580
For it is written, He shall giue his Angels charge concerning thee,  =
28489
& in their handes they shall beare thee vp,  =  15292
lest at any time thou dash thy foote against a stone.  =  22323
Iesus said vnto him, It is written againe,  =  19606
Thou shalt not tempt the Lord thy God.  =  17802
Againe the Deuill taketh him vp into an exceeding high mountaine,  =
25356
and sheweth him all the kingdomes of the world  =  20642
and the glory of them:  =  8143
And saith vnto him, All these things will I give thee  =  22688
if thou wilt fall downe and worship me.  =  19710
Then saith Iesus vnto him,  =  12627
Get thee hence, Satan: for it is written,  =  17837
Thou shalt worship the Lord thy God,  =  18110
and him onely shalt thou serue.  =  13398
Then the deuill leaveth him,  =  11082
and behold, Angels came and ministred vnto him.  =  17228 = 555971

As in 511378 + 1000 - 4000 + 11931 + 35662 = 555971

where the Saga-Shakespeare Cipher Key, 11931, comes in place of
Shake-Speare, 4951, in the earlier Cipher Sum 340928 + 1000 - 4000 +
4951 + 35662 = 378541.

In the context of Augustan-Saga-Shakespeare Myth, this would serve to
identify Shake-Speare with MAN as carrier of The Number Thing as set
forth by my friend, the late Einar Pálsson (d. 1996) in Hypothesis # 1
in a path-breaking work published in 1969 - to resounding public
silence (and private derision) in the Icelandic scholarly community,
whose intellectual capital was thereby placed at risk.*

****

*  In a message posted May 30, I referred to Einar's hypothesis as
follows:

The King is Dead - Long Live the King!

King Hamlet was 'killed' in the act of begetting Prince Hamlet - in
the context of myth, this 'means' that the "killer" of King Hamlet was
none other than Prince Hamlet himself through his Lucianic alter ego
King Claudius.

As in the case of Brutus, Prince Hamlet can only 'avenge' his Father's
"murder most foul" by OVERCOMING himself - in this respect, the Prince
of Denmark is archetypal Everyman en route to "a Consummation devoutly
to be wish'd" on the Mons Veneris of his Female alter ego, Virgin
Ophelia.

As further background on this aspect of the imagery of ancient
creation myth, here is a brief extract from a working note of mine on
related issues:

"...as detailed by the late Einar Pálsson, author of an 11-volume opus
on 'Roots of Icelandic Culture' in Icelandic and three
English-language books, Triangle 3:4:5 was held to represent the
'foundation' of Creation in Time and Space alias Microcosmic Man's
Psyche, key aspects of which were identified with prominent landmarks
in southern Iceland by its 9th century settlers.

"The Concept Of MAN

"The world was created on a small island off the south coast of
Iceland.  The name of the island is Þrídrangr (Triple Rock). ...
Numerology resides in the world.  Men safeguard that numerology in
letters which are called runes.  One of the runes is called MAN.  It
is potent in nature, one and triunite.  In it reside the concepts of
Beam, Hand and Man.  The meaning of these concepts is strange to
modern minds - especially that of the last one.  MAN is "tree", he is
"fire" and he is "penis" - a horse penis.  It is no ordinary penis, it
is the giver of life, symbol of Cosmic Fertility.  Thus, MAN is at
once giver of life to men and giver of life to the world.  He
symbolizes Creation. (Baksvið Njálu, 'Background to Njála', 1969, p.
80; my translation.)"

****

The Saga-Shakespeare Cipher Key and Calculator is posted on the
Internet at http://www.light-of-truth.com/gunnartomasson/ciphers.htm

From: "gangleri" <gunnar.tomasson@...>
Newsgroups: humanities.lit.authors.shakespeare
Subject: Re: Christopher Marlowe - Peter Farey - May 30, 1593/2005
Date: Wed, 01 Jun 2005 16:04:54 -0700

Tom.

Your rhetorical style - "there is not the slightest reason to think
that etc." - conveys a sense of secure command over the subject matter
which, in the present case, is a splendid example of what Whitehead
termed "the fallacy of misplaced concreteness."

Let me explain.

1.  At issue is the question whether Edmund Spenser's "Our pleasant
Willy" -

And he the man, whom Nature selfe had made  =  15104
To mock her selfe, and Truth to imitate,  =  17230
With kindly counter vnder Mimick shade,  =  18240
Our pleasant Willy, ah is dead of late:  =  15329
With whom all ioy and iolly meriment  =  17352
Is also deaded, and in dolour drent.  =  13104 = 96359

- is meant to denote Edward Oxenford playcast as "willy" in the
context of Shakespeare Myth.

Since you do not admit of any such play-acting being afoot in the
first place, your views on the subject matter reduce to mere
restatement of your Orthodox Stratfordian faith.

The same goes for your view that Gematria is worthless insofar as
resolving any literary puzzle such as the identity of "Our pleasant
Willy".

2.  David Kathman, who knows all incidental details and understands
nothing about the substance of the Shakespeare Mystery, has cited the
following verse penned by hand along with two of the Holy Trinity
Church Shakespeare memorial inscriptions in a copy of the First Folio
which is now in the Folger Library -

Heere Shakespeare lyes whome none but Death could Shake  =  23237
and heere shall ly till judgement all awake;  =  16602
when the last trumpet doth unclose his eyes  =  21976
the wittiest poet in the world shall rise.  =  22014 = 83829

-  as surefire proof that the writer was memorializing Will Shakspere.

Of course, Kathman can't entertain any alternative construction
without giving the lie to his professed certitude insofar as the
Shakespeare Authorship Issue is concerned.

3.  A couple of days ago, before I put these particular pieces of the
puzzle together, I identified "Our pleasing Willy's" death of late on
Mons Veneris as marking the End of one cycle of Shakespeare Myth and
the Beginning of another - with the End of Edward Oxenford's "houre
vpon the stage" and the Beginning of that of Gulielmus Shakspere.

The first proposition accords with the Cipher Sum 7936 - 1000 + 1612 -
2801 + 6783 + 83829 = 96359, where

7936 = Edward Oxenford;

- 1000 = Darkness;

1612 = Hell;

- 2801 = Our pleasing Willy (Penis, 2801) "dead of late" (-); and

6783 = Mons Veneris.

****
Here is the 1895 version of Edward Oxenford/Prince Hamlet "coming
before Ophellia" on being "loosed out of hell" (Act II, Sc. i):

Enter Ophelia
Polonius:
How now, Ophelia!  what's the matter?
Ophelia:
Alas!  my lord, I have been so affrighted.
Polonius:
With what, in the name of God?
Ophelia:
My lord, as I was sewing in my closet,
Lord Hamlet, with his doublet all unbrac'd;
No hat upon his head; his stockings foul'd,
Ungarter'd, and down-gyved to his ancle;
Pale as his shirt; his knees knocking each other;
And with a look so piteous in purport
As if he had been loosed out of hell
To speak of horrors, he comes before me.
Polonius;
Mad for thy love?
Ophelia:
My lord, I do not know;
But truly I do fear it.
Polonius:
What said he?
Ophelia:
He took me by the wrist and held me hard,
Then goes he to the length of all his arm,
And, with his other hand thus o'er his brow,
He falls to such perusal of my face
As he would draw it.  Long stay'd he so;
At last, a little shaking of mine arm,
And thrice his head thus waving up and down,
He rais'd a sigh so piteous and profound
That it did seem to shatter all his bulk
And end his being.  That done, he lets me go,
And, with his head over his shoulder turn'd,
He seem'd to find his way without his eyes;
For out o' doors he went without their help,
And to the last bended their light on me.
----------
Compare descriptions of Edward Oxenford's condition and appearance
when caught in the act of 'brownswerdish' buggery - the flip side of
"coming before" Ophelia.
----------

4.  But is there any indication that Edward Oxenford alias Prince
Hamlet alias William Shakespeare, 9322, may have  passed the baton, so
to speak, to Brownswerd, - 4000, Gulielmus, 5322, Shakspere?

Yes - as in 9322 - 4000 = 5322.

5.  Some time ago, I advanced the notion on this forum that the ONLY
extant reference by Edward Oxenford to Francis Bacon was meant to
'document' the latter's assumption of responsibility for adapting,
revising, and augmenting Oxenford's "booke" to make it reflect the
Shakspere Cycle of Shakespeare Myth.

Of course, to admit of any such construction of the record would
scuttle the leaky vessel of Stratfordian Fundamentalism - and the
notion was roundly rejected.

The reference in question reads as follows:

For I am aduised, that I may passe  =  12363
my Booke from her Magestie yf a warrant may be procured  =  22634
to my Cosen Bacon and Seriant Harris to perfet yt.  =  21532 = 56529

6.  Now, here is a problem - and reason for Stratfordian
True-Believers to heap scorn on Gematria as admissible tool of
analysis in Shakespeare Studies - for the orthodox construction of the
record.

The problem is 'spelled' 56529 + 1000 + 2801 + 7 + 360 + 35662 =
96359, where

1000 = Light of the World;

2801 = Penis;

7 = MAN-Beast of Seventh Day;

360 = Devils' Circle; and

35662 = The Stratfordian's "Houre Vpon The Stage".*

*  As in 17252 + 2602 + 1564 + 10026 + 2502 + 1616 + 100 = 35662, where

17252 = Gulielmus filius Johannes Shakspere;

2602 = April 26;

1564 = 1564;

10026 = Will Shakspere gent;

2502 = April 25;

1616 = 1616; and

100 = The End

****

The Saga-Shakespeare Cipher Key and Calculator is posted on the
Internet at http://www.light-of-truth.com/gunnartomasson/ciphers.htm

Newsgroups: humanities.lit.authors.shakespeare
From: "gangleri" <gunnar.tomas...@...> - Find messages by this
author
Date: 29 May 2005 12:26:28 -0700
Local: Sun,May 29 2005 3:26 pm
Subject: From the most able, to him that can but spell: Tandem Divulganda

****
As for your gematriatic fantasies, I have no doubt that you think that
you are thinking, but the product of your thought is incoherent
babble. (Tom Veal, May 28, 2005)
****

Gentle Shakespeare did not leave the intellectually challenged in the
lurch - a point underscored by Heminge/Condell in the First Folio -

Reade him, therefore; and againe, and againe:  And if then you doe not
like him, surely you are in some manifest danger, not to understand
him.

- in reaffirmation of the like advice offered up front:

To the Reader.  =  5506

This Figure, that thou here seest put,  =  18235
It was for gentle Shakespeare cut;  =  16030
Wherein the Graver had a strife  =  13614
with Nature, to out-doo the life:  =  15814
O, could he but have drawne his wit  =  16422
As well in brasse, as he hath hit  =  13172
His face; the Print would then surpasse  =  19454
All that was ever writ in brasse.  =  16560
But, since he cannot, Reader, looke  =  13299
Not on his Picture, but his Booke.  =  15354

B. I.  =  541 = 164001

The advice to "reade" and not "looke" conveys the message that
Shakespeare is to be grasped and understood in THOUGHT and not
OBSERVATION - see my message of today's date (May 29, 2005, 11:16 am)
on the thread "Re: Christopher Marlowe and the Rotten State of
Denmarke/Stratford/Hell".

****

The Saga-Shakespeare Cipher Key, which was enciphered and placed on
record in the first half of the 13th century in a single brief
sentence in the oldest extant Icelandic skin manuscript where I
discovered and extracted it some 30 years ago, is an instrument of
THOUGHT which, when applied to OBSERVATION, is capable of yielding the
results reported in this message.

As an instrument of THOUGHT, the Cipher Key is to the understanding of
the Shakespeare Opus what Ludwig Wittgenstein said of Philosophy - a
LADDER to be used for getting where one is going and, once there, to
be thrown away.

In Henry Peacham's 'Minerva Britanna' (1612), Emblem # 38 depicts a
Key being carried aloft on massive wings - presumably when it has
served its function.  Entitled 'Tandem Divulganda' or 'Finally, these
things must be revealed', the emblem is accompanied by a brief verse:

Tandem Divulganda  =  6877

The waightie counsels, and affaires of state,  =  19292
The wiser mannadge, with such cunning skill,  =  21324
Though long lockt up, at last abide the fate,  =  17779
Of common censure, either good or ill:  =  16292
And greatest secrets, though they hidden lie,  =  18491
Abroad at last, with swiftest wing they flie.  =  22067 = 122122


****

In Shakespeare Myth, the "greatest secrets" concern the loveless
marriage between Anne Hath A Way and Stratfordian Will Shakspere.

Who's Anne? alias "Mrs Shakspeare" who is listed in Holy Trinity
Church 'records' as "Anna uxor Richard James"?

The Cipher Sum of Mission Accomplished/Tandem Divulganda, 6877, and
the date of Anne's death, August 8, 1623 as in 6877 + 806 + 1623 =
9306, serves to identify 'her' with Providence/Prometheus, 6306, whose
principal function according to Francis Bacon is "the constitution of
man", whose completion is symbolized by Swiftest Wing/Flaming Sword,
4000, flying up from Hellish/Danish/Stratfordian Darkness, - 1000 as
in 6306 - 1000 + 4000 = 9306.

Providence:
Anne Hathaway  =  5656

The Constitution of Man:

Gulielmus filius Johannes Shakspere  =  17252
April 26  =  2602
1564  =  1564

Triangle 3:4:5 ['Foundation' of Man's Psyche]  =  345
Resurrection [3:4:5 raised to third power, 27 + 64 + 125]  =  216

Will Shakspere, gent  =  10026
April 25  =  2502
1616  =  1616

The End  =  100

Mission Accomplished:
Tandem Divulganda  =  122122 = 164001

****

Of course, the "greatest secrets" do NOT relate to the Stratfordian as
such - for The End of 'his' Houre Vpon The Stage is that of THE LAST
POPE, Petrus Romanus.

Nor is there anything personal in this insofar as THE LAST ACTOR to be
playcast as Pope is concerned - for the "greatest secrets" concerns
mythical MAN-Beast alias Microcosmic Man of Seventh Day, with the
roles of transient actors on The Stage being incidental to the Cosmic
Drama itself.

In 'Minerva Britanna', Emblem # 100 as in The End, 100, provides the
following epitaph for mythical MAN-Beast at The End:

Sic et Ingenium  =  6953

The Roses sweete, that in the Garden grow,  =  20190
If that not often drest where they abide,  =  17485
Become as wild as those, we see doe blow  =  18065
In every feild, and hedge-row as we ride:  =  15734
And though for beautie, once they did excell,  =  16848
They now haue lost, but cullor and the smell.  =  20718

So many men, whome Nature hath endu'de,  =  15943
With rarest partes, of bodie, or the mind,  =  18376
Do in themselues by Sloth, grow rancke and rude,  =  20932
Not leauing any memorie behind,  =  11677
Saue that they liued heere, and sometime were,  =  19091
A needles burthen which the Earth did beare.  =  16974 = 218986

****
Matt. 1:23
Behold, a virgin shall be with child, and shall bring forth a son, and
they shall call his name Emmanuel, which being interpreted is, God with
us.
****

While the imagery of Augustan-Saga-Shakespeare Myth and Literature is
pagan in origin, it serves as vehicle for an ALTERNATIVE construction
of the Story and Mission of Christ - hence the identification of The
End of the Stratfordian's Houre Vpon The Stage with that of The Last
Pope.

Monad  =  1

Emmanuel  =    3635

Stratfordian's Houre Vpon The Stage  =  35662*

Petrus Romanus  =  9010

God With Us  =  6677

Gentle Shakespeare's Booke  =  164001 =  218986

*  As in 17252 + 2602 + 1564 + 10026 + 2502 + 1616 + 100 = 35662.

****

The Saga-Shakespeare Cipher Key and Calculator is posted on the
Internet at http://www.light-of-truth.com/gunnartomasson/ciphers.htm

Yesterday, I asked Tom Veal on HLAS - borrowing the introductory
phrasing from him - as follows:

Have you ever met anyone besides yourself to whom it made a
scintilla of sense

to suppose that YOUR MIND was the pinnacle of human
evolution?.

****

This morning, a third HLAS poster commented:

  Hey, maybe that's what Arthur C. Clark intimates in Space Odyssey when
he concludes with the baby's mind conceiving pre-evolutionary reality?

I'm waiting for someone to come up with a triad of genes, monads, and
memes describing psyche as a synergy, maybe describing them as
separate manifestations of one thing, like Indian religion has it.

***

My reply follows:

Clark's conclusion would seem to be rooted in the Platonic concept of
Knowledge as Remembrance - a concept, I submit, which is of the
essence in Shakespeare's play Hamlet.

Here are some tell-tale signs of the concept's place in the world-view
of the William Shakespeare which Clark would seem to equate to "the
baby's mind" which "conceives pre-evolutionary reality" as its
Stratfordian manifestation frets and struts its hour upon the stage of
The Globe.

King: Though yet of Hamlet our dear brother's death The memory is
green... we with wisest sorrow think on him, Together with remembrance
of ourselves.  (Act I, Sc. ii)

Hamlet:  I have that within which passeth show. [Remembrance?]  (Act
I, Sc. ii)

Laertes:  Think it no more; For nature, crescent, does not grow alone
In thews and bulk; but as this temple WAXES, The inward service of the
mind and soul Grows wide withal.  (Act I, Sc. iii)

Polonius:  There, my blessing with thee!  And these few precepts in
thy memory.  (Act I, Sc. iii)

Laertes:  Farewell, Ophelia; and remember well What I have said to you.
Ophelia:  'Tis in my memory lock'd, And you yourself shall keep the
key of it.  (Act I, Sc. iii)

Horatio:  He WAXES desperate with imagination. (Act I, Sc. iv)

Hamlet:  Haste me to know't, that I, with wings as swift As meditation
or the thoughts of love, May sweep to my revenge.  (Act I, Sc. v)

Ghost:  Adieu, adieu!  Hamlet, remember me.    [Exit.  (Act I, Sc. v)

Hamlet:  Remember thee!  Ay, thou poor ghost, while memory holds a
seat In this distracted globe.  Remember thee!  Yea, from the table of
my memory I'll wipe away all trivial fond records [incl. Stratfordian
Orthodoxy? - insert], All saws of books, all forms, all pressures
past, That youth and observation copied there; And thy commandments
all alone shall live Within the book and volume of my brain, Unmix'd
with baser matter [in the context, Stratfordian Orthodoxy? - insert]
... Now to my word; It is 'Adieu, adieu!  Remember me'.  I have
sworn't.  (Act I, Sc. v)

Hamlet:  Give me one poor request.
Horatio:  What is't, my lord?  we will.
Hamlet:  Never make known what you have seen to-night.
Hor/Mar:  My lord, we will not.
[Pssst.  Tom, THIS is the great conspiracy that has left the
Stratfordian Brotherhood in the dark!]  (Act I, Sc. v)

King:  Something have you heard Of Hamlet's transformation
[evolutionary quantum jump? - insert]; so I call it, Since nor the
exterior nor the inward man Resembles that it was.  [Stratfordian
Dumb-bell? - insert]  (Act II, Sc. ii)

King:  ...Your [Rosencrant/Guildenstern's] visitation shall receive
such THANKS As fits a king's remembrance.  (Act II, Sc. ii)

****
First Ambassador:  The ears are senseless that should give us hearing,
To tell him his commandment is fulfill'd, That Rosencrantz and
Guildenstern are dead.  Where should we have our THANKS?  (Act V, Sc.
ii)
****

Polonius:  If circumstances lead me, I will find Where truth is hid,
though it were hid indeed Within the centre.  (Act II, Sc. ii)

Polonius:  Well be with you, gentlemen! [as in "Well" on Virgin's Mons
Veneris?]

Hamlet:  Hark you, Guildenstern; and you too; at each ear a hearer:
that great baby you see there is not yet out of his swaddling-clouts.
Rosencrantz:  Happily he's the second time come to them; for they say
an old man is TWICE a child.

****
Alonso:  If this prove A vision of the island, one dear son Shall I
TWICE lose. [At The Second Coming in a Whore/Virgin's "Well"?] (The
Tempest, Act V, Sc. i)
****

Polonius:  What a treasure had he, my lord?
Hamlet:  Why
      One fair daughter and no more,
      The which he loved passing well.
Polonius:  [Aside]  Still on my daughter.  (Act II, Sc. ii)

Hamlet:  'tis a consummation
Devoutly to be wish'd.  To die, to sleep...
Soft you now!
The fair Ophelia!  Nymph, in thy orisons
Be all my sins remember'd.
Ophelia:  Good my lord,
How does your honour for this many a day?
Hamlet:  I humbly thank you; WELL, WELL, WELL.
Ophelia:  My lord, i have remembrances of yours,
That I have longed long to re-deliver;
I pray you, now receive them.  (Act III, Sc. i)

King:  O wretched state!  O bosom black as death!
O limed soul, that struggling to be free
Art more engaged!  Help, angels!  make assay;
Bow, stubborn knees; and heart with strings of steel
Be soft as SINEWS of the new-born babe.
All may be well.  (Act III, Sc. iii)

****
Hamlet:  O all you host of heaven!  O earth!  What else?
And shall I couple hell?  O fie!  Hold, hold, my heart!
And you my SINEWS, grow not instant old,
But bear me stiffly up!  Remember thee!.... (Act I, Sc. v)
****

Hamlet:  So much for this, sir:  now shall you see the other;
You do remember all the circumstance?
Horatio:  Remember it, my lord?
Hamlet:  Sir, in my heart there was a kind of fighting
That would not let me sleep... (Act V, Sc. ii)

****
Mine EYE and heart are at a mortal war,
How to divide the conquest of thy sight;
Mine eye my heart thy picture's sight would bar,
My heart doth plead that thou in him dost lie, -
A closet never pierc'd with crystal eyes, -
But the defendant doth that plea deny,
And says in him thy fair appearance lies.
To 'cide this title is impannelled
A QUEST OF THOUGHT, all tenants to the heart;
And by their verdict is determined
The clear eye's moiety and the dear heart's part:
As thus; mine eye's due is thine OUTWARD part,
And my heart's right thine INWARD love of heart.
(Sonnet # XLVI)

The "eye" is to "observation" what the "heart" is to "thought".

With Prince Hamlet having sworn to "wipe away [from the table of [his]
memory] all trivial fond records, All saws of books, all forms, all
pressures past, That youth and OBSERVATION copied there" (Act I, Sc.
v), the King knows his goose is cooked:

Bow, stubborn knees; and heart with strings of steel
Be soft as SINEWS of the new-born babe.
All may be well.  (Act III, Sc. iii)

****

Hello Gunnar,

I'm enjoying your posts hugely.

A key question for you however.

How and what are the organizational principles in the order of the
Cipher Key. I've investigated the ordering of numerics and letters of
our other alphabets. They all have a discernible pattern and
justification for their structure in letter and numeric form.

What is your take or can you refer me to any of your possible
analyses concerning this alphabetic/numeric ordering. I need much
more time to analyze its ordering principles, but you may be able to
shorten this process for me as well for the forum members.

One thing I noticed today when going over several of your previous
emails is the notation that Roger Bacon reviewed the King James
Translation for approximately one year prior to the (final?) print.

Its quite obvious that there are certain relationships involved with
the past and future concerning the origin of the Bible translations.
Several of our members are quite certain that the overall production
of the original Hebrew and Greek productions were coordinated.

Your input has been very useful; thank you so much.
Regards, Jud

May 23, 9:49 pm

Prologue.

In the course of Ph. D. thesis work at the Harvard Department of
Economics 30 years ago, it dawned on me that the epistemological
foundations of mainstream economics were non-existent.  My
(mainstream) thesis advisor was not prepared to 'supervise' my work on
such a heretical notion.

Ever since, I have had no respect for academics who take a
lady-of-the-night view of Veritas.

I don't recall if I had heard of the Shakespeare Authorship Issue at
the time, but my work on the epistemological foundations of modern
science led me to the writings of Francis Bacon - especially 'Novum
Organum' through which I made my first acquaintance with what surely
must be one of the most lucid minds in all of recorded history.

The essence of Bacon's approach to research is NEVER to jump to
conclusions - an approach which is anathema to would-be academics and
tenure-seeking young faculty, whose intellectual capital has been
invested in whatever orthodoxy their thesis advisor had inherited from
HIS thesis advisor etc. etc.

As I continued my research on Bacon, I was introduced to the thesis
that he might have had something to do with the Shakespeare Opus -
and, not knowing anything about the subject matter, I decided to check
it out and see whether the field of Shakespeare Studies - and the
resolute rejection of the notion that Francis Bacon might have had a
hand in the Shakespeare Opus - might be dominated by academics bent on
protecting their intellectual capital.

To make a long story short, it soon appeared to me that Francis Bacon
PROBABLY had something to do with the Shakespeare Opus.  An issue of
Harvard Magazine arrived with an advertisment for a book by one
Charlton Ogburn, entitled 'The Mysterious William Shakespeare' - and I
ordered a copy.

When it arrived, I read it with an OPEN mind - and, as I advised
Ogburn at the time, his book made a strong case for Edward Oxenford as
the man behind the Shakespeare Mask.  Ogburn replied (a) that he
appreciated my view of his book, and (b) that my idea of Bacon being
involved was - well, I'll leave it at that.

But it left me wondering, "What's with these Shakespeare guys?"

Which brings me to the HLAS Newsgroup.  My initial postings here were
greeted by Tom Reedy who opined that "this person is crazier than a
shithouse rat".  Then came Tom Veal - a suave operator - who raised
the spectre of my being anti-this that and the other.

Finally, Terry Ross came in to bat clean-up, pointing out that
Gematria by the Saga-Shakespeare Cipher Key (and, by implication, by
that of ancient Hebrew and Greek Cipher Keys) was essentially
INDETERMINATE in that all kinds of words and phrases could be
associated with any given Cipher Value.

True - but that's the nature of ALL language/music/mathematics.  They
are sets of symbols which are MEANINGLESS in and of themselves, yet
serve as basie for TALK, COMPOSITION, and MATH when harnessed for that
purpose by THOUGHT.

But enough of that - all of us will stand or fall with the merits of
whatever case we may bring forth in support of our views on the
Shakespeare Authorship Issue, to which I now turn.


Edward (de Vere) Oxenford.

The following verse by Richard Barnfield was placed on record in 1598
(with Cipher Values added):

And Shakespeare thou, whose hony-flowing Vaine,  =  21724
(Pleasing the World) thy praises doth obtaine.  =  20262
Whose Venus, and whose Lucrece (sweete, and chaste)  =  24415
Thy name in fames immortall Booke have plac't.  =  17519
Live ever you, at least in Fame live ever:  =  16440
Well may the Bodye dye, but Fame dies never.  =  15918 = 116278

It doesn't take a Sherlock Holmes to find the twice-repeated
"live-EVER" in the pen-ultimate line and the last line's "dies NEVER"
somewhat curious.

As it happens, Edward (de VERE) Oxenford took his leave of the stage
in a letter addressed to Robert Cecil on October 7, 1601 - as detailed
in earlier messages, I regard the letter as a KEY piece of evidence
with respect to the Shakespeare Authorship Issue.  Oxenford's
leave-taking reads as follows;

And thus wishinge all happines to yow,  =  18733
and sume fortunat meanes to me,  =  13574
wherby I myght recognise soo diepe merites,  =  19549

I take my leave this 7th of October  =  13775
from my House at Hakney 1601.  =  11101

Yowre most assured and louinge  =  15668
Broother  =  4605
Edward Oxenford  =  7936 = 104941

As in 104941 + 1861 + 3394 + 2082 + 4000 = 116278, where

1861 = Mary;

3394 = Jesus;

2082 = Faith; and

4000 = Flaming Sword.

In Shakespeare Myth, Mary + Jesus = 1861 + 3394 = 5255 are Mother/Son
aspects of the ancient symbol of Wisdom which goes by the name
Pythagoras, 5255, and, as such, was invoked in 1598 by Francis Meres'
in his praise of Shakespeare and his works in 'Palladis Tamia, Wits
Treasury'.

In myth, Faith is a 'ship' that brings believers through the tempest
of life's trials and tribulations to world-ending metamorphosis into
Flaming Sword, which Christian myth associates with Archangel Michael
- as in Daniel 12:1-4, with the Latin text of the concluding part of
Dan. 12:4 being imprinted on the frontispiece of Francis Bacon's
'Advancement of Learning':

Many shall run to and fro, and knowledge shall be increased.

*****

The Saga-Shakespeare Cipher Key and Calculator is posted on the
Internet at http://www.light-of-truth.com/gunnartomasson/ciphers.htm

May 22, 8:48 pm Subject: Shakespeare in Westminster Abbey - What Was
Pope Up To?

Alexander Pope - a man of exquisite poetic sensibility - appears to
have gone haywire in crafting a badly mangled extract of Prospero's
"Our revels now are ended" speech for William Shakespeare's monument
which he and others arranged to have erected in 1741.

According to Penn Leary, the original text read as follows:

The Cloud capt Tow'rs, = 11640
The Gorgeous Palaces, = 9297
The Solemn Temples, = 8930
The Great Globe itself, = 8991
Yea all which it Inherit, = 10446
Shall Dissolve; = 7136
And like the baseless Fabrick of a Vision = 15397
Leave not a wreck behind. = 9991 = 81828

The text was painted on the monument and, after some maintenance work,
"capt" is said to read as "cupt" and "Fabrick" as "Fnbrick".

This afternoon, it occurred to me to see how the "original" version of
the text might dovetail with a brief - and unflattering - verse which
Pope penned on the Stratfordian:

Shakespear, (whom you and ev'ry Play-house bill = 19866
Style the divine, the matchless, what you will) = 22373
For gain, not glory, wing'd his roving flight, = 19771
And grew Immortal in his own despight. = 18528 = 80538

Here is what turned up.

Monad = 1

Vas Hermetis = 6357

Shakespear [Dead] = -4723;

Immortal Shakespear = 80538

Memorialized in Westminster Abbey = 81828,

as in 1 + 6357 - 4723 + 80538 + 81828 = 164001

As in

To the Reader. = 5506

This Figure, that thou here seest put, = 18235
It was for gentle Shakespeare cut; = 16030
Wherein the Graver had a strife = 13614
with Nature, to out-doo the life: = 15814
O, could he but have drawne his wit = 16422
As well in brasse, as he hath hit = 13172
His face; the Print would then surpasse = 19454
All that was ever writ in brasse. = 16560
But, since he cannot, Reader, looke = 13299
Not on his Picture, but his Booke. = 15354

B. I. = 541 = 164001

Considering also that Pope's inscription on the statue –

GVLIELMO SHAKESPEARE = 9088
ANNO POST MORTEM CXXIVo= 9533
AMOR PVBLICVS POSVIT = 11603 = 30224

- mirrors the Cipher Sum 9322 + 4600 + 10805 + 5497 = 30224, where

9322 = William Shakespeare;

4600 = Scialetheia [A Shadow of Truth];

10805 = Sweet Swan of Avon; and

5497 = Et in Arcadia Ego {And I in Arcadia),

I am inclined to think that Alexander Pope's haywire act was designed
to leave

(a) a red flag for future Shakespeare scholars to stop and THINK; and,

(b) having done so, credit the testimony of their own EYES; and

(c) grow up.

May 19, 6:33 pm

Of unsuspected things in heaven and earth.

1.  Thomas Thorpe, in his Dedication of Marlowe's translation of
'Lucans First Booke' (1600), wrote of 'Christopher Marlow', 11156, as
'Pure Elmentall Wit', 10230 as in 11156 + 10230 = 21386.

2.  This Cipher Sum served as reference value for a key aspect of
'hidden poetry' on the Marlovian aspect of Shakespeare Myth, whose
point of departure Peter Farey has noted as follows:  "The earliest
record we have of the poet and dramatist Christopher Marlowe is of his
baptism at St. George's Church, Canterbury, on 26th February 1564."

3.  Who was Christopher Marlowe?  The first part of a two-part answer
to this question is mirrored in the Cipher Sum 5385 + 2612 + 1564 +
1796 - 1000 = 10357, where 5385 = Francis Bacon; 2612 and 1564 =
February 26, 1564; 1796 = Graal; and - 1000 = Darkness.

"Translation":  In the 'hidden poetry' of Shakespeare Myth, the date
of Marlowe's baptism serves as starting point for Francis Bacon's
Quest of the Holy Grail, with Bacon as mythical MAN-Beast viewed as
the alchemical vessel Vas Hermetis, 6357, whose transmutation by
metamorphosis into Flaming Sword, 4000 as in 6357 + 4000 = 10357,
concludes the Quest.

4.  The Quest's conclusion is one with MAN-Beast's 'death' - in this
case - on May 30, 1593, as in 10357 + 3003 + 1593 + 6433 = 21386 -
-  with 6433 = Cid Hamet Benengeli, the "real" author of the
hare-brained Don Quixote as noted in an earlier message.

5.  That is 6433 as in 11384 - 4951 = 6433, where Christopher Marlowe,
11384, has shuffled off his "mortal coil"/Shake-Speare, - 4951.

6.  The Stratfordian verdict on Marlovian MAN-Beast has been harsh,
reducing to trash the very icon of Stratfordian Fundamentalism - the
diabolical Shake-speare!

"The circumstances of [MAN-Beast's] slaying are set forth in detail in
the legal records; a jury of sixteen accepted the coroner's findings.
But of such impossibilities the anti-Stratfordians make instruments to
plague us," the late S. Schoenbaum wrote of claims to the effect that
Marlowe 'was' Shakespeare. (Shakespeare's Lives, Clarendon Press,
1991, p. 445)

"By now," he continued, "only the most innocent will suppose the
Siberian expanses separating the literary personalities of the gentle
Shakespeare and iconoclastic Marlowe (described by a contemporary as
of a cruel and intemperate nature) sufficient to discourage heretical
speculation" along such 'impossible' lines.  (Loc. cit.)

7.  In the vocabulary of ancient creation myth, the Stratfordian's
"houre vpon the stage" begins with Hieros Gamos, 5902, or 'Royal
Marriage', whereby Light of the World, 1000, puts on its Stratfordian
"mortal coil" alias "tygers hart wrapt in a players hyde', 16160.
But, as "Johannes fac totum", 8600, mythical Stratfordian 'poore
player' has that within which, at play's end, transforms the 'ideot'
into Flaming Sword, 4000 as in 5902 + 1000 + 16160 + 8600 + 4000 =
35662.

8.  'Ideot poore player's houre vpon the stage' is documented in a
purported copy of original records of Stratford's Holy Trinity Church:

Baptism:

Gulielmus, filius Johannes Shakspere  =  17252
April 26  =  2602
1564  =  1564

Burial:

Will Shakspere gent.  =  10026
April 25  =  2502
1616  =  1616

Curtains:

The End  =  100 = 35662

9.  Shake-Speare plays many parts, including that of Faustus:

THE TRAGICALL HISTORY OF D. FAUSTUS.  =  16291
AS IT HATH BENE ACTED  =  7104
BY THE RIGHT HONORABLE  =  8945
THE EARLE OF NOTTINGHAM HIS SERUANTS.  =  16763
WRITTEN BY CH. MARL.  =  9093 = 58196

10.  As reflected also in the Cipher Sum 1 + 3331 - 5975 + 5829 +
19348 + 35662 = 58196, where

1 = Monad;

3331 = Will;

- 5975 = Simon Peter [dies];

5829 = Simon Bar Iona [lives];

19348 = Terminat hora diem, terminat author opus [Latin phrases
appended to Marlowe's play 'Faustus']; and

35662 = Stratfordian's Houre Vpon the Stage concluded.

11.  A sentence in Italian and English is appended to the end of Vol.
I of EL INGENIOSO HIDALGO DON QVIXOTE DE LA MANCHA, 17616:

Forse altro canterà con miglior plettro.  =  19129

Perhaps another will sing with a better voice.  =  22601

As in 1000 + 2801 + 17616 + 19129 + 22601 - 4951 = 58196, where
Quixotic, "cruel and intemperate" Shake-Speare is identified with

1000 = Light of the World; alias Cosmic Creative Power symbolized by

2801 = Penis; whose "better voice" is an "oath" which is said to have
flown out of the mouth of dying Marlovian MAN-Beast, alias

- 4951 = Shake-Speare.

12.  With Stratfordian Scholars exposed as arrant fools!

May 17, 6:16 pm

For Whom The Bell Tolls – Looney's Last Laugh

Today, I searched the HLAS for any mention of Sir Nicholas L'Estrange
note on Shakespeare as Godfather to one of Ben Jonson's children.

On October 17, 2000, David Kathman wrote in response to some comments
which Looney had made with respect thereto:

"I suppose it's not impossible that Shakespeare could have been
godfather to one of Jonson's sons, but even if this were so, Looney's
"argument" (I use the term charitably) would have no force, since none
of Jonson's sons survived infancy. Ben wrote a moving epitaph for one
of his sons that was published in his 1616 Workes. All Shakespeare
scholars that I'm aware of treat the joke in question as part of the
mythology of Shakespeare and Jonson; Chambers includes it in his
section on "The Shakespeare Mythos", and Schoenbaum in *Shakespeare's
Lives* discusses it in his early chapters on the various legends that
grew up around Shakespeare in the century after his death.

"The fact that Looney takes this joke as a literal record of history,
making his arguments with an apparently straight face, is much funnier
than the joke itself. It's somewhat akin to someone collecting the
many jokes that have been told about Bill Clinton over the past eight
years and using them as the basis for a history of the Clinton
presidency."

The Looney aspect had been raised by Oxfordian Richard D. Miller, who
responded to David Kathman's comments as follows:

"I guess we'd have to examine the actual joke and it's contexts before
I can agree with you or not. The way you've stated it is reasonable.
In that respect I'm inclined to agree. At least he mentioned the
reference, which shows he was informed. Looney does manage to get a
lot of his facts right."

I first came across the l'Estrange's story in 1986, when I bought
Schoenbaum's 'Documentary Life', which contains a photographic
reproduction of the l'Estrange note on p. 257. At the time, three
things struck me as peculiar about it.

First. The handwriting is exceptionally clear, with each letter
carefully penned.

Second. To the naked eye, the text's left margin, bottom line, and
sloping right margin form an outline of Triangle 3:4:5.

Third. For one that has come to view "translation" as the key to the
Shakespeare Mystery, Shakespeare's closing words - "thou shalt
translate them" - are evocative of a challenge akin to that on display
in Stratford's Holy Trinity Church: "Stay passenger, why goest thou by
so fast? Read if thou canst..."

Now, nineteen years later, it took me all of 20 minutes or so to
arrive at the "translation" set forth below. First, here is the text
with associated Cipher Values:

Shake=speare was Godfather = 11734
to one of Ben: Johnsons children, = 13546
and after the christning, being in a = 13232
deepe study, Johnson came to cheere him vp, = 17345
and askt him why he was so Melancholy? no = 17836
faith Ben: (sayes he) not I, but I haue beene = 14102
considering a great while what should be the fittest = 24820
gift for me to bestow vpon my God=child, and I = 19107
haue resolud at last; I prythe what, sayes he? I = 19999
faith Ben: Ile e'en giue him a douzen good Lattin = 17532
spoones, and thou shalt translate them. = 18218 = 187471

A first possible clue to the right "translation" resides in the
Cipher Sum of the last two lines, 17532 + 18218 = 35750.

For, at The End, 100, of the "translation", as in 35750 + 100 = 35850,
the Cipher Sum mirrors the Cipher Value of the Ten Sefiroth of En
Sof's manifestation at the level of Man, as detailed in previous messages.

In the context of Augustan-Saga-Shakespeare Myth, the concept of
Shakespeare's God-Child can ONLY denote EK - Icelandic for "I" as in
the "I" at the end of the third line from the bottom - which is the
final stage of En Sof's manifestation, at which the previous stage HE,
604, is No More as in - 604.

A second possible clue to the right "translation" would be "a douzen
good Lattin spoones" as in the Latin for the Twelve Houses of the
Zodiac, 45319, viewed as mythical Macrocosm whose projection at the
level of Microcosmic MAN-Beast, alias Brownswerd, - 4000, IS The World
or Creation in Time and Space alias Archetypal Stratfordian, the
Cipher Value of whose "houre vpon the stage" is 35662.

A third possible clue is the text's presentation in the form of
Triangle 3:4:5, with 345 viewed as the 'foundation' of MAN-Beast's
Psyche, at whose 'resurrection', 216 as in the sides of Triangle 3:4:5
raised to the third power (27 + 64 + 125 = 216), Shakespeare's
God-Child is 'born' and 'baptized' EK.

A fourth possible clue is William Shakespeare as God-Father, whose
labors that bring forth the God-Child would be represented by "The
Workes of William Shakespeare, Containing all his Comedies, Histories,
and Tragedies: Truely set forth according to their first Originall,"
63795.

The other day, Terry Ross suggested that ANYTHING could be read into
letters of the alphabet through application of the Cipher Key, which I
discovered embedded in a single sentence in the oldest extant
Icelandic skin manuscript some thirty years ago.

So far, however, NOTHING has been set forth as possible "translation"
which readers literate in the 'vocabulary' of
Augustan-Saga-Shakespeare Myth wouldn't at once recognize as plausible
- the Cipher Sum of the above "structural" components of the Myth is
35850 - 604 + 45319 - 4000 + 35662 + 345 + 216 + 63795 = 176583.

The rest is a cake-walk, as in 1 + 4789 + 176583 + 6098 = 187471.

For, as indicated before, the Mystery of William Shakespeare IS one
with that of the Incarnation whereby God/Monad, 1, is the Christ, the
Alpha and Omega of whose Crucifixion is symbolized by the words of
Jesus in John 19:28 and 19:30, "I thirst," 4789, and "It is finished,"
6098.

May 13, 7:45 pm
Subject: Re: Bacon: the man next to Shakespeare

Art.

I have long been persuaded that the Shakespeare Opus was the product
of a collaborative effort between Edward Oxenford, Francis Bacon, and
Ben Jonson, with the latter two continuing to revise, refine, and
augment poems and plays by Oxenford after his death in 1604.

Also, familiarity with the modus operandi of authors in the
Saga-Shakespeare tradition has left little doubt in my mind that
Oxenford's letter to Robert Cecil, which contains his ONLY written
reference to Francis Bacon was specifically designed to 'document'
their collaboration on the Shakespeare Opus.

When I opened your message this evening, it occurred to me to apply
the Cipher Calculator at http://www.light-of-truth.com/ciphersaga.htm to:

(a) The address:

To the ryghte honorable & my very good Broother Sir Robert Cecill on
of her Magestyes pryvie Councel and principall Secretarie giue thes at
the Coorte = 65533;

(b)  The addendum:

Erle of Oxenford to my Master.  =  13225; and

(c)  The 'endorsement' date:

7 October 1601 as in 708 + 1601 = 2309.

The Cipher Value of (b) immediately "signals" that we are looking at
"hidden poetry" for it mirrors the Cipher Sum 4000 + 9225 = 13225,
where the Flaming Sword, 4000, associated with End of Myth is linked
to Oxenford's motto, VERO NIHIL VERIUS, 9225.

In turn, the Cipher Sum 65533 + 13225 + 2309 = 81067 accords with
other key aspects of "hidden poetry" in the Augustan-Saga-Shakespeare
tradition in two distinct ways.

First.  1 + 10594 + 6677 + 63795 = 81067,  where

1 = Monad;

10594 = Sir Francis Bacon, Knight (Minerva Britanna, 1612);

6677 = God With Us; (Matt. 1:23); and

63795 = The Workes of William Shakespeare, Containing all his
Comedies, Histories, and Tragedies: Truely set forth, according to
their first Originall.

Second.  1 + 729 - 4951 + 84288 = 81067, where

1 = Monad;

729 = Platonic Tyrant ('The Republic', Book IX);

- 4951 = Shake-Speare [no more]; and

84288 = Eight Augustan-Saga-Shakespeare Authors, namely,

Quintus Horatius Flaccus  =  14209
Publius Virgilius Maro  =  12337
Sextus Propertius  =  11999
Publius Ovidius Naso  =  11249
Snorri Sturluson  =  11359
Sturla Þórðarson  =  9814
Francis Bacon  =  5385
Edward Oxenford  =  7936 = 84288

And what about Ben Jonson?

In the context of Shakespeare Myth, he was PLAYCAST as MAN-Beast at
The Tyrant stage of - sorry about that Kathman/Reedy/Ross/Veal/Grumman
et al - EVOLUTION.

Hence his fabled 'rivalry' with William Shakespeare - a 'rivalry' to
which Prince Hamlet refers at the outset of Act V, Sc. ii as "a kind
of fighting" in his "heart".

It is the "fight" between the Good Angel vs. Bad Angel aspect of us
mortals.

See my note of May 12, "Jesus Christ Superstar - The Hidden Soul Of
Harmony", at http://www.light-of-truth.com/ciphersaga.htm.

The Lord works in mysterious ways.

And, it seems, with a wicked sense of humor - witness the Lord's
Servants putting on the longest-running play in history for the
Christopher Slys of the world!

Now, at play's end, here is how it all began:

Lord:
O monstrous beast!  how like a swine he lies!
Grim death, how foul and loathsome is thine image!
Sirs, I WILL PRACTISE ON THIS DRUNKEN MAN.

Putting things in context.

Gunnar

*****

May 10, 2:11 pm Subject: Re: Thomas Heywood alias Thomas Salusbury

Thanks for these inputs - the Salusbury/Love's Martyr angle is
especially interesting and merits a closer look.

In the meantime, here is what I think MAY have been going on.

1.  For the ancients - and authors in the Augustan-Saga-Shakespeare
tradition - Names were held to embody attributes of Cosmic Creative
Power whose interplay on the stage of the world represents the
unfolding of a pre-ordained, mathematically precise plan.

2.  The work of Inspired Poets is held to be the means whereby Cosmic
Creative Power places its plan on record while Gematria concerns the
plan's translation into numerical form through an appropriate Cipher
Key.

3.  In Shakespeare Myth as in Icelandic 13th century Edda Myth, Cosmic
Creative Power appears under many different names - e.g., twelve names
for the chief god Óðinn - a TRICKSTER par excellence - are listed in
one Edda chapter.

4.   "Take him for all in all," Prince Hamlet says of his Father in
Act I, Sc. ii - a thought which David Garrick had inscribed on the
statue of William Shakespeare in Stratford in 1768.

5.  In Shakespeare Myth, "Gulielmus filius Johannes Shakspere", 17252,
is "all in all" in this sense, alias Mythical MAN-Beast of Seventh
Day, 7, which the ancients equated to Creation in Time and Space, as
in 17252 + 7 = 17259

6.  In the imagery of myth, Cosmic Creative Power is  Tri-Unite as in
1 + 17258 = 17259 where 17258 = Thomas Dydimus-Salusbury-Heywood,
where Thomas Dydimus serves to link Shakespeare Myth to the "twin" of
Jesus.

7.  The different spellings of Christopher Marlowe's name serve to
link the "baptism", "death", "victory", and "prophecy" to the
reference Cipher Value 17259 as follows:

(a)  Christopher Marley, 8477 - "baptism"/"death" as in 8477 + 2612 +
1564 + 10 + 3003 + 1593 = 17259.

2612 and 1564 = "baptism" on February 26, 1564; 3003 + 1593 = "death"
on May 30, 1593, with 10 = Shake-Speare's Ten-Speaking Head/Father
alias "oath" that flew out of Marlowe's mouth as he 'died';

(b)  Christopher Morley, 9838 - "victory"/"death" as in 1000 + 1825 +
9838 + 3003 + 1593 = 17259

1000 = Light of the World's "victory" over 1825 = Death on May 30,
1593.

(c)  Christofer Marly, 8249 - "prophecy" as in 8249 + 9010 = 17259

9010 = Petrus Romanus, alias Last Pope in Malachy's Prophecy.

8.  The latter would relate to "the unfolding of a pre-ordained,
mathematically precise plan" through the Cipher Sum 1 - 1000 + 5137 +
13267 - 5975 + 5829 = 17259.

In 'translation':  Cosmic Creative Power/Monad, 1, works in the
Darkness, - 1000, of Ignorance until Judgement Day, 5137, when the
"death" of The Last Pope, 13267*, concludes the unfolding of Simon
Barjona, 5829, through the "death" of Simon Peter, - 5975.

*  As in Ioannes Paulus, 7474, alias John Paul II, whose papacy began
October 16, 1978 and ended April 2, 2005 as in 7474 + 1608 + 1978 +
202 + 2005 = 13267.

9.  And how might this relate to "Gulielmus filius Johannes
Shakspere," 17252, whose "houre vpon the stage" from "baptism" on
April 26, 1564 to "burial" as "Will Shakspere gent", 10026, on April
25, 1616, would symbolize The End, 100, of Myth as in 17252 + 2602 +
1564 + 10026 + 2502 + 1616 + 100 = 35662?

10.  As Archetypal MAN-Beast, the Stratfordian IS Adam, 913, whose
"houre vpon the stage", 35662, is prelude to "death" and
transformation into Son of MAN alias Light of the World, 1000 as in
913 + 35662 + 1000 = 37575.

Or Man become Temple Of God, alias The Church, which Christ vowed to
build on the Rock that is Simon Barjona, with Simon Peter's "death"
marking the completion of St. Peter's Basilica and its REPLACEMENT by
Christ's Church.

This - future End-of-the-World - "event" is memorialized in an
inscription made on the facade of St. Peter's Basilica to mark its
completion in 1612:

IN HONOREM PRINCIPIS APOST PAVLVS V BVRGHESIVS  =  23501
ROMANVS PONT. MAX. AN. MDCXII PONT. VII.  =  14074 = 37575

A French translation of the inscription reads: Paul V Borghèse, pape,
a fait ceci en l'an 1612, en l'honneur du prince des apôtres.