Illustrated is William Shakespeare’s dedication to Henry VVriothesley (the first of three dedication) which in 1593 accompanied his first published poem “Venvs & Adonis” a work bearing one line more contentious than all others:
“But if the first Heire of my invention prove deformed, I shall be sorry it had so noble a God father … “
The ensuing question therefore is, did our great author mean “first heir” as in first heir to the throne? And did he also believe Henry VVriothesley divinely ordained in Heaven by a God-father.
Hitherto, as far as I know, the small crescent moon hanging over the lower case ‘s’ in the words “first Heire” which appear in line eleven of the dedication (highlighted by me) remains unrecognised for what it is.
In our author’s mind the ‘s’ represents ‘Southampton’ with the moon (icon) symbolising ‘a new-moon’ because Henry VVriothesley’s true birthday was the 20th May 1574 (Sonnet 20 is testament to this very fact). Our great author (his father) knew these details because he was in close-proximity at the time of the birth, though he was careful indeed not to use the mortal word ‘birthday’. We see that he refers to Wriothesley in line ‘IX’ of (S.33) as “my son one” (my Godly Son) ‘One’ being the Hebrew word for God, while I feel it necessary to point out to you that the word ‘one’ appears three times only in Shakespeare’s famous metaphysical poem “The Phoenix and the Turtle” in lines 26, 40 and 46, which is absolutely an expression of ‘Sacred 3’ and very definitely an allusion to VVriothesley.
Henry Wriothesley’s Creation
Not surprisingly we find this event described in line ‘IX’ of sonnet 20. Our great author deliberately placing it there, because ‘IX’ is an allusion to ‘Christ’ ‘Iesus Christus’ (in Latin) as he wished to convey to humanity the Godliness of this most Royal of princes, while ‘IX’ also just happen to be Christ’s initials in Greek Ιησούς Χριστός, while perhaps I should also add, if VVriothesley had succeeded Elizabeth on the throne of England he would have become King Henry ‘IX’.
‘Q’ of (S.20) above – speaks VVriothesley’s name, because slap-bang in the middle of it, we find one word conspicuous above all others – being both capitalized and italicised, “Hews” is a marsupial of the name ‘Henry VVriothesley’. While many of you will not be aware of the fact that “Love’s Martyr” (where “The Phoenix and the Turtle” first soar into our psyche) was actually written by our great author using the pseudonym ‘Ro.Chester’ for ROCHESTER a town in Kent he was notoriously associated with, following the ‘Gads Hill’ incident, in which the Earl of Oxford’s men robbed William Cecil the Lord Treasurer’s men – a story retold in scene II of William Shakespeare’s play King Henry IV Part 1. Beginning in line 120 the following is ‘Poins’ dialogue:
But my lads, my lads, tomorrow morning, by four o’clock early at Gad’s Hill, there are pilgrims going to Canterbury with rich offerings, and traders riding to London with fat purses. I have vizards for you all; you have horses for yourselves, Gads Hill lies tonight in Rochester.
Tellingly the dedication found in “Love’s Martyr” (the host publication for Shakespeare’s famous metaphysical poem “The Phoenix and the Turtle”) to Sir John Salisburie is signed: “Ro.Chester” an abbreviation of Robert Chester, while more simply put the pseudonyms William Shakespeare & Robert Chester belong to the same person.
Looking at “The famous Victories of King Henry V” we find this:
Clerk: Why then, Cutbert Cutter, I indict thee by the name Cutbert Cutter for robbing a poor carrier the 20th day of May last past, in the fourteenth year of the reign of our sovereign lord King Henry fourth, for setting upon a poor carrier upon Gad’s Hill in Kent, and having beaten and wounded the said carrier, and taken his goods from him.
It seems slightly suspicious that both the dates of VVriothesley’s & Oxford’s ‘true’ birthdays are mentioned in this passage, our author finding pleasure in promoting the event as a family affair. VVriothesley’s true birthday being 20th May 1574 while Oxford’s true birthday was the 14th July 1548, although the nascent date of the robbery was actually May 2Ist 1573 a full year before VVriothesley’s arrival on planet Earth. Therefore, as there was only a day in it, Oxford moved the day forward by one, so whenever we find the 20th May mentioned in respect of the Gads Hill robbery, it commemorates the actual day his son was “first created” (Line ‘IX’ S.20).
Prior to my study of “Love’s Martyr” it had occurred to me the allusion between the ‘Virgin Queen’ & ‘Venvs’ transcribed in William Shakespeare’s long narrative poem “Venvs & Adonis” might carry some serious weight. While subsequently, I find my views hardened, as I now believe Elizabeth very much to be her father’s daughter, with sexual promiscuity making her equally queen-bee and Queen of England, her intelligence and vivacious beauty helping redress the imbalance that existed in a man’s world, assets she ultimately employed to overpower men, therefore, I believe Shakespeare’s allusion to ‘Venvs’ a fair one.
Oxford said “Time cannot make that false which once was true” so in the eyes of some, the greatest Englishman that ever lived is condemned to eternal damnation, because he was carnally acquainted with his mother. Personally, I don’t see it that way. Firstly, was there a man in Elizabethan England that could refuse the faire Phoenix in her prime, and if he did what would have been his fate? For this certainly would have curtailed any promotional aspirations! Secondly, when exactly in his lifetime did the Earl of Oxford truly understand the fact that Elizabeth Virgin Queen of England was his mother?
It would appear to me – peeping through the window of his life – that his first sexual encounter with her (a slightly seedy affair) is found described the following way, on page 167 ‘Q’ of “Love’s Martyr”, a passage quite incredibly not only identifying him by name (in the word Vərt) but also providing the first use of the schwa ‘e’ in the English Language (1601) thereby proving he was familiar with the Hebrew Language:
(4) When (in the height of grace) she doth adorne,
(5) Her Crystal presence, and invites,
(6) The ever youthful Bromius to delights,
(7) Sprinkling his suit of Vərt with Pearle.
The above extract from the ‘INVOCATIO’ verse in complete form is composed of 12 rhyming couplets, with ‘Bromius’ an allusion to ‘Oxford’ because it is the 17th word in the poem beginning with a capital letter, while ironically ‘Vərt’ when spoken provides us with the schwa sound in English.
Considering its various spellings the Hebrew word ‘Schwa’ literally means ’emptiness’, consequently, if we empty the word ‘Vert’ of it – the remaining letters we have are ‘VRT’ then if we convert these using simple gematria in conjunction with the Elizabethan alphabet, we arrive at the numbers 20, 17 & 19. We have already seen that 20 is Henry Wriothesley’s date of creation, a point confirmed in line ‘IX’ (S.20) with the words “And for a woman wert thou first created“, while the number 17 obviously relates to ‘Oxford’ as ‘19‘ does to Essex. Line ‘XIX’ of the ‘Phoenix-poem’ relating to Robert Devereux’s life and death – as administered by his mother Elizabeth “With the breath thou giv’st and tak’st“. She gave him breath when she gave birth to him and when she signed his death warrant and he was duly executed she took his breath away. Sonnet 19 also begins – honouring Essex, the letters Dev for Devereux found at its very beginning, our author believing his brother both “Lion” and “Fierce Tiger”. These three princes were of course a band of bastard brothers and the three leading lights of the Essex-faction. In “love’s Martyr” the host publication for “The Phoenix and the Turtle” that was produced immediately following the Essex execution, Oxford cunningly identifies these “Happy few” (happy meaning Royal) with the following group of words “Envy, every one” alluding to Essex, Oxford & Wriothesley ‘one’ being the Hebrew word for God, followed on page 168 of the Quarto in line ‘17‘ of the poem found there, the words “Kind, Learned, Envious” alluding to Wriothesley, Oxford & Essex.
The name ‘De Vere’ originated in Normandy where the pronunciation of the word ‘Vert’ is completed without the final letter. While in being a prince he was blessed by divine ordination, therefore, still counting capitalised words ‘Vert’ becomes word number ‘XIX’ leading us to ‘Tau’ an allusion to ‘Christ’, Tau being letter ‘XIX’ in the Greek alphabet, a prominent symbol of Freemasonry.
This same passage we find duplicated in “A Mid-Summer Nights Dream”.
Tomorrow night, when Phoebe doth behold
Her silver visage in the wat’ry glass,
Decking with liquid pearle the bladed grass,
(A time that lover’s flights doth still conceal).
Colour-wise ‘liquid-pearle’ flows organically from our author’s quill – a perfect allusion for what he wished to describe, while the colour of bladed grass is Vert. Less fluidly, though more ironically, we find ‘pearl’ a symbol of purity (sacred to the Goddess Venvs) as Botticelli’s famous painting ‘The Birth of Venus’ immediately springs to mind.
Our author concludes the four lines about our lovers by explaining, that the experience shared by them is concealed by their flight, a-love-match instigated by ‘Phoebe’ in the height of grace, which sounds slightly apologetic, as she is the one doing the ‘inviting’ and therefore the instigator. While it should also be remembered (in my opinion) that she was experienced in such matters, being 15 years Oxford’s senior. While the verse continues:
“like a loose enamour’d girle” who “ingles his cheeke which waxing red with shame – instructs the senseless Grapes to do the same”.
Oxford’s cheeks ‘wax red with shame’ because (perhaps unwittingly) he has experienced (or been subjected to) a form of incest.
The following language is of course absolutely fabulous – for as many a woman knows; many a man’s brains are located in such “senseless grapes”.
While the word “silver” has a special meaning being ‘lis’ backwards (although not in this particular scenario) and ‘ver’ joined together. We are also presented with some regal/godly connotations – “In the height of Grace” “Her crystal presence” and “Phoebe” for Goddess of light.
As convention would have it, the “INVOCATIO” we have been looking at found in “Love’s Martyr” antecedes “The Phoenix and the Turtle” which is followed immediately by an even more revealing poem, again with sex at its core, our author again taking the opportunity to reveal himself numerically.
The Oxford/Shakespeare Brand – within his poem “A Narration”
The numbers 1740 inscribed in Roman numerals on the monument to William Shakespeare in Westminster abbey are the numerical equivalent of the name ‘William Shakespeare’ (itself numerical) they also represent the date under the stewardship of Lord Burlington, Alexander Pope & Richard Mead his tomb was consecrated, thus: The Oxford/Shakespeare Brand is both name and number.
As this pseudonym, decreed by Royal command (though chosen by our author) was to be used until his death, its ‘creation’ was almost forensically considered by him, because he realised literature was innately subjective and always open to interpretation, whereas mathematics is not, mathematics is objective.
The Elizabethan alphabet and the classical Latin alphabet are the same until the 20th letter ‘V’ or ‘U’. In simple gematria this letter can be represented by the number ’20’ as A = 1, B = 2, C = 3 etc, while remembering there was no ‘J’. Therefore, we can easily see how ‘W’ made up from two V’s = ‘40’ then by adding the remaining number of letters in the name William Shakespeare which amount to 17 we arrive at The Oxford/Shakespeare Brand 1740.
We should also bear in mind the Greek Goddess of warfare/drama/playwrights etc. Pallas Athena as a fully formed warrior and shaking a golden spear was ‘created’ from the forehead of Zeus (significantly without a mother) a reality only too familiar for our great English dramatist who was prohibited by Her Majesty from using that particular word in her presence.
Looking at the quarto of “Love’s Martyr” on page 173 there is a poem entitled:
“A Narration and description of a most exact wonderous creature, arising out of the Phoenix and Doves ashes”.
The sixth line of this poem ending with three words composed of ‘17’ letters:
“…………… can never remigrate”
Words immediately followed by anaphora of three lines all beginning with the letter ‘T’ (which in this book generally stands for ‘Turtle’ not Tau). There is then a gap of four lines before we arrive at a fourth ‘T’ = 4’T’ (40) thus bringing together the numbers 1740. Our author deliberately leaving a gap between the third ‘T’ and fourth ‘T’ because he wanted what arguably is the most revealing line in all ‘Shakespeare’ to arrive in the fourteenth line, because as previously identified ‘14’ July 1548 was his true birth-day.
Illustration – by kind permission of
‘The Folger Shakespearean Library’ W.D.C.
The red dots seen above identify 4 ‘T’s = 40 which are preceded by 17 letters beginning with the word ‘can’ found in the 6th line identifiable by a blue dot – as is the word Turtles which arrives in the 17th line!
“The Phoenix and the Turtle” appear on pages 170/171/172 of ‘Love’s Martyr’ with the above illustration found on the following page ‘173’ providing for us a further rendition of The Oxford/Shakespeare Brand 1740.
Then immediately prior to Shakespaere’s ‘avian’ masterpiece on Pg.169 we find a poem entitled “the First” revealing the triangulated-anagrammatic signature of our prince and author “E. De Vere” – Elizabeth’s “First” born son.
As I have said, line 14 in the above illustration alludes to De Vere’s true birthday 14/07/1548 – its content specifically relating to him – this is what it says:
(XIV) “The Soule of heaven’s labour’d Quintessence“. (Quarto spelling)
What we learn is this, that he is not the “Soul of the Age” but more correctly ‘the soule of five princes divinely ordained in heaven’ all issue of the Queen.
With the word “Quint-essence” both capitalised and italicised, the word “labour’d” relating to childbirth, and the word “quint” meaning five.
This is something I now firmly believe – that Elizabeth had five children, all males, all princes, with confirmation of this found in the bottom left-hand corner of the verse by five-sequential-words beginning “My-My”, these five ‘M’s standing for “Male” (as these five princes were all male). What follows then is only natural, because Elizabeth wanted the last of these to be a princess not another prince! While I further believe, Shakespeare’s most biographical of works not fully comprehendable without understanding the two most common allusions he used for ‘Elizabeth’, the word “Beautie”(a honorific liberally used during her lifetime to describe her) and the word “Nature”, perhaps best illustrated by stanza two of (S.126) the last of the ‘Faire Youth’ series, where Elizabeth “sovereign mistress” is seen a hindrance to VVriothesley’s hopes of succession – with the words “May-time” referencing his birth.
If Nature, sovereign mistress over wrack,
As thou goest onwards, still will pluck the back,
She keeps thee to this purpose, that her skill
May time disgrace and wretched minutes kill.
Then understanding these allusions, we make perfect sense of the first line of (S.20).
“A Woman’s face with natures owne hand painted”.
(Elizabeth decorates her androgynous son’s face with cosmetics).
This Image of the teenage ‘Henry VVriothesley’ shows him with plucked eyebrows, lip-gloss and earring in the shape of an ‘O’. In his lifetime he was famous for his long-locks of auburn hair which in this portrait he is seen holding as he considered them a badge of Tudor honour.
(IX) And for a woman wert thou first created,
(X) Till nature as she wrought thee fell a doting. (S.20)
Because of his son’s androgynous nature his father continually stresses that his gender is male, while we learn in the third line although he has “a woman’s gentle heart” he doesn’t have a “quaint” (he is not acquainted), while in the eleventh and twelfth lines we learn that he does have the “addition” of a penis (one-thing). Therefore (being male) he is secured against any subsequent advances by his father. Words conveying to my mind how members of royal dynasties align their sexuality with those of the Gods and not with mortals, not considering (for instance) incest something they should be denied.
Now, although it would appear in our modern world perfectly acceptable to have a child out of wedlock – in Tudor times this was considered completely unacceptable and very much a sin (particularly by the powerful church).
When Elizabeth was thirty years old, she published a book in Latin of her prayers – in which we find the following:
Create in me a pure heart, O God, which may truly declare your mercy and my wickedness, for you are my God and my King; I am your handmaid, the work of your hands. To you, therefore, I bend the knees of my heart; against myself I confess my fault. I have sinned, I have sinned.
While this particular prayer she finishes: May goodness conquer my evil, may your patience overcome my sins.
In another prayer she wrote:
Do not enter into judgement with your handmaid,
for in your sight no living man can be justified.
If you will mark our iniquities, O Lord,
Lord, who will be able to stand before you?
From my secret sins cleanse me;
From the sins of others spare your handmaid,
Many sins have been forgiven her because – she has loved too much.
While it is probably not necessary to point out that love is a virtue – not a sin! I will do it any way. Now, before we continue, I would like to show you in greater detail how I know that Henry VVriothesley was “first created” on 20th May 1574. The most obvious reason being (S.20) is a portrait both of his Godly birth and gender, and as we have seen “first created” in line ‘IX’ of (S.20). Naturally; as only to be expected this day of ‘creation’ was commemorated by Shakespeare with a particularly significant announcement in the stationer’s register of the intention to publish his sonnets, an eventuality organised by him that took place that very day ‘20th May 1609’, while we have already seen the 20th May get an ironic mention in Henry IV part 1 – described as a day that didn’t exist! Because those “rough winds” of authority wished exactly that – that Henry VVriothesley didn’t exist, while to the contrary – in a sea change of mood from the first ‘17’ procreation sonnets, we find in our author’s most famous (S.18) him eulogising about his son – with the words:
“The darling buds of May”.
Because VVriothesley was exactly that!
There follows an image of a miniature painting by Nicholas Hilliard showing what an incestuously sired prince looks like, while the upside of being a prince was
one got to have one’s image recorded almost more than anyone else, in fact the only person in Elizabethan England to have their portrait painted more than him, not surprisingly, was his mother the Queen. If you doubt what I am saying, then PLEASE take some time to carefully examine the following three images and ask yourself does Henry VVriothesley look more like his mother ‘Elizabeth’ or grandmother ‘Anne Boleyn’?
Looking at both the dedications to “Venvs & Adonis” and “Lucrece” our author favours the name VVriothesley with what I like to call the ‘double VV insignia’ thereby identifying him as one of the De Vere family, because this ‘VV’ is an allusion to our author’s own motto “Vero Nihil Verius”. While contrastingly in both cases for the ‘W’ with which his pseudonym begins he uses a standard ‘W’. “Venvs & Adonis” as it appears on the cover of ‘Q’ also bears the double VV insignia, we therefore understand our author also considers the Goddess part of his family, while it is worth mentioning the letter ‘u’ represented in the “St Paules Church-yard” address found on the cover of ‘Richard Fields’ publication is written in what we now consider the conventional way.
‘Alexander Waugh’ in great detail has explained how some numbers are more ‘Christian’ (more important) than others, particular the numbers ‘III’ ‘IX’ & ‘XIX’. While it is my contention that the purpose of entering “Venvs & Adonis” in the stationer’s office for publication on 18th April 1593 was in order that a presentation copy could be prepared for the celebration of Henry VVriothesley’s creation in the following month of May when he would become the age ‘XIX’.
If we look at the conclusion of sonnet ‘XIX’ we find the love our author bears his Godly son almost overwhelming, describing him as “Beauties Pattern” (Wrought in Elizabeth’s mould) although ultimately of course he was not successful in succeeding his mother – our author’s dearest hope. While the first quatrain of (S.XIX) actually eulogises our author’s ‘Envious’ half-brother ‘Essex’, who in being a second Earl gets two nods “Dev” in the first line, and “Dev” in the second line, and although (S.XIX) begins by praising the fearless ‘Robert Dev-ereux’, it concludes with him remonstrating time – in respect of his son ‘one’ (L.8), while the sonnet concludes with a couplet of eternal beauty:
O, carve not with thy hours my love’s faire brow,
Nor draw no lines there with thine antique pen.
Him in thy course untainted do allow,
For beauties pattern to succeeding men.
Yet do thy worst, old time: despite thy wrong,
My love shall in my verse ever live young.
Edward de Vere’s True Birthday 14th July 1548. (S.S.) ‘Cancer’
Although Oxford chose to decry the claims of astrology sonnet ‘14’ conclusively displays his understanding of the phenomena:
And yet methinks I have Astronomy.
Then conversely; looking at the numerology calculation for his date of birth we find his life path number is ‘III’. There follows a description of that life path number which I found through searching the internet, simply by punching in the date: 14/July/1548.
You have a very high level of creativity, imagination, self-expression and an ability to inspire others. This abundance of creative energy combined with versatility and a good nature make you able to communicate in all areas. Writing or verbal communication both feel easy to you, these are your origins. Your road can lead you to become a poet, writer, actor, or musician.
‘Threes’ like to live their life to the fullest with joy and imagination. Sometimes this will result in living too much for the moment and forgetting about tomorrow. Having such a charismatic personality making friends will be easy. While understanding other’s emotions and putting them at ease is a natural thing for ‘threes’. You are an amazing communicator, bringing unique creative flair to everything you do. The best work for you are artistic endeavours that let you express yourself, be it writing, speaking, designing, illustrating, dancing, acting or music.
‘The Tudor Trinity’ (T,T,T) my own invention – is a convenient umbrella for (Queen Elizabeth I, Edward de Vere & Henry VVriothesley) a composite of ‘III’ princes – a phrase our author could only dream of – for fear of being accused of blasphemy, while naturally it reflects the three ‘T’s of the Triple Tau. ‘Three’ is a prime number both critical & ‘sacred’ to him, a multiple he persistently uses in various works to endorse or confirm his personnel sentiments’. It is embodied by the term: ‘Sacred 3’. The three of the Holy Trinity – the three in his Royal family – and the three in the 3rd Earl of Southampton’s title, and where found absolutely validates his meaning.
Significant Expressions of ‘Sacred 3’
Employing the pseudonym ‘William Shakespeare’ our great author only ever made three dedications and all to the same person his son ‘Henry VVriothesley’. The first of these to “Venvs & Adonis” in 1593 the second the following year to “Lucrece” while the third followed five years after his death in 1609 with the dedication to his “Sonnets”.
The Sonnets dedication itself is a further representation of ‘Sacred 3’ as it is composed of three triangles, while its mathematical/geometrical composition is the work of Dr John Dee who signed it three times.
The Oxford/Shakespeare Brand is both name and number = 1740.
This number is also easily found in William Shakespeare’s famous metaphysical poem “The Phoenix and the Turtle” where it appears three times. ‘Page 26’ of my work explains simply this further expression of ‘Sacred 3’. PLEASE see: “With the Breath thou Giv’st and Tak’st”.
The allusion to the Earl of Oxford already mentioned by way of four ‘O’s found at the conclusion of both “King Lear” ‘Q’, and “Hamlet” ‘F’ is further replicated when the page numbering system for the Quarto of “Love’s Martyr” is deciphered, as the first four pages are also represented the following way: O,o,o,o. Consequently, we have another representation of ‘Sacred 3’.
Let me make a suggestion to all of you who wish to study Shakespeare – pay particular attention to anything he replicates three times – he may well be validating something he considers of particular importance, something we can all learn from.
Let me give you an example: At the beginning of the play “King Lear” (a name that rhymes with Vere) we find the Bastard-Edmund an allegory of the Bastard-Edward (words also Rhyming) has three soliloquies.
Edward de Vere was a bastard because he was born out of wedlock and is represented in the play by the complete bastard Edmund, who although he is a complete bastard still gets ‘three’ short soliloquies. Gloucester in king Lear is the bastard Edmund’s father, the reason for this is that in ‘real’ life the bastard Edward’s father was ‘Thomas Seymour 1st Baron Seymour of Sudeley’ a stately-pile just happening to be in the county of ‘Gloucester’.
Lord Admiral Sir Thomas Seymour
Edward de Vere 17th Earl of Oxford
Now, what do these three soliloquies tell us?
Firstly, he informs us he is a follower of the Goddess Nature (his mother) before telling us his “shape is true” cathartic words pertaining to his injurious soul, because when rumour got out of control that the princess Elizabeth aged fourteen had had a child by Lord Admiral Sir Thomas Seymour, a counter rumour was prepared saying: “a bruit of a child had been born and miserably destroyed”.
Testimony to this, we find from our author’s own pen in (‘Love’s Martyr’) while using the pseudonym ‘Robert Chester’ for (Rochester) in a sonnet to perfection – this is what we find:
Oft, have I gazed with astonish’d eye,
At monstrous issue of ill shaped birth,
When I have seen the midwife to old earth,
Nature produce most strange deformitie. (Love’s Martyr ‘Q’ page 174)
Elizabeth’s secret love-life is referred to in the first of Edmund’s three soliloquies (King Lear) with the phrase “The lusty stealth of nature” before completing with the appropriate and better remembered line: “Now God’s, stand up for bastards”.
Oxford’s father (a very witty and saucy fellow) was born at the now infamous ‘Wolf Hall‘, while in the month of November 1547 he almost simultaneously impregnated two English Queens. One of these ‘Katherine Parr’ in the wake of the death of Henry VIII had become Dowager Queen, while the other ‘Elizabeth’ was yet to become queen.
Thomas didn’t have sexual intercourse with either of them, what he did though, although almost exactly the same in action, should in time become more correctly known as “divine thrusting on” (soliloquy 2) which those of you who are numerically inclined will immediately notice are words composed of 17 letters – such a coincidence!
Edward de Vere who Elizabeth was expecting in the third week of August 1548 popped up prematurely on 14th July (premature births being a common occurrence for young mothers) a reality confirmed by ‘Gloucester’s’ remark made to Kent in King Lear (the county where Rochester lies) at the beginning of the play:
“Though this knave came something saucily to this world before he was sent for, yet was his mother faire, there was good sport at his making”.
Even more interestingly the bastard Edmund or is that the bastard Edward? (its difficult to tell) continues his dialogue in King Lear:
“An admirable evasion of whoremaster man, to lay his goatish disposition on the charge of a star”.
He is with these words describing his father who he seems to have a very poor opinion of, while it is still difficult to tell who is being referred to – the bastard Edward or the complete bastard Edmund, although there is an excellent clue in the word “admirable” because the title ‘Admiral’ is it’s marsupial. While the very next sentence begins with the words “My Father” before there are a whole host of allusions to his mother “The Maidenliest star” Virgo (the Virgin) who he wishes had shown more compassion, more reverence to his Godly state by twinkling on his bastardy. Oxford saw himself as Gods representative (or messenger) on earth, as he repeats again Gods refrain to Moses which is also found in line ‘IX’ of (S.121) “I am that I am“.
“My Father compounded with my Mother under the dragons tail and my nativity was under Ursa Major, so that it follows I am rough and lecherous. Fut! I should have been that I am had the maidenliest star in the firmament twinkled on my bastardizing”.
Other observations regarding the remaining Christian-numbers ‘IX’ and ‘XIX’ are Oxford’s tendency to proffer ‘IX’ for his ‘red’ or ‘rose’ prince VVriothesley and ‘XIX’ for his ‘white’ prince Essex. While if you would like to understand the deeper symbolism these colours represent – please see my analysis of (S.99) or the breathtakingly-brilliant allusion represented by line ‘XIX’ of “The Phoenix and the Turtle” found in my work:
Jesus Christ ‘IX’ was King of the Jews and in the many instances our author seeks to link his son with Christ – the purpose of it is to highlight the divinity of his DNA, because unlike ‘Essex’ & himself and Francis Bacon come to that, VVriothesley was royal on both sides – his father was royal and his mother was royal. VVriothesley therefore, although one of five Royal siblings – was the only one with both a royal father and a royal mother. I can confirm what I say, because by examining my first illustration to this article (the dedication to Venvs & Adonis) you will see there are in total ‘IX’ uses of the lower-case double VV insignia (underlined by me in red) two of which are shown below – in the words “ovvne” and “vvish”.
Here our author shows both courage and great inventiveness in the final full line of the dedication to “Venvs & Adonis” which translates to:
“Vere your own William Shakespeare” the word “wish” being a marsupial of the name William Shakespeare.
Oxford also shows great intelligence in the way he disguises the crescent-moon over the ‘s’ in the words “first heire” appearing in the only edition extant of ‘Richard field’s publication’ courtesy of the ‘Bodleian Library’ – as the type face chosen has not only a capital ‘S’ or two, but also uses both an upper and lower-case ‘s’, the crescent-moon is therefore disguised as it appears at first glance to be an upper-case ‘s’ not a lower-case ‘s’.
The “New Moon Over Southampton” is therefore an allusion to VVriothesley’s Princely status, because our author believed him “first Heire” to the throne of England and in a deliberate strategy his entry into this world is described specifically in line ‘IX’ of (S.20) one reason (already alluded to) that in succeeding Elizabeth to the throne he would have become King Henry ‘IX’.
Critically, Edward de Vere was very careful not to use the word ‘birthday’ (which he uses several times in his plays) in respect of his son, whom he considered “a little love-God” (S.154), for to him Gods were created not born (without incest or sexual impropriety). While equally he had to show utmost diplomacy regarding the ‘miraculous’ situation he found himself in, where amongst the Queen’s subjects existed the widely held belief that VVriothesley’s mother was a virgin.
Celestial-bodies always True
Within the vaulted words of (S.33) we find gilded embellishment and regal-language elaborating upon all this Godliness VVriothesley possessed with the reverential words “my son one” yet again appearing in line ‘IX’, with an allusion of astronomical proportions occurring in (S.14) because from constant stars (VVriothesley’s eyes) we find our author derived all his knowledge, as his eyes were so very, very Godly – the following words again found in line ‘IX’.
(‘IX’) “But from thine eyes my knowledge I derive”. (S.14)
Eyes so bright they: “Gildeth the object where-upon they gazeth” (S.20)
While more critically, we should remind ourselves celestial-bodies don’t lie, for on the day of his ‘creation’ Thursday the 20th May 1574 (Julian) in surreptitious glory – to beguile the world – slowly there rose a ‘new moon over Southampton’ a portent of divinity on earth – one proving Henry VVriothesley to be a rare prince – and in Oxford’s mind “first heire” to the throne of England.
Philip Cooper fecit. © 18th April 2022.