Expressing ‘Sacred 3’ across the Shakespeare cannon there are three iterations of “The Essex/Christ Allusion”, its nascent origin relating to the conviction for high-treason of ‘Robert Devereux 2nd Earl of Essex’ on February ’XIX’ 1601.
Represented by the number ‘XIX’ “The Essex/Christ Allusion” by William Shakespeare is found in the following locations:
(1) Line ‘XIX’ of “The Phoenix and the Turtle”.
(2) Sonnet ‘XIX’.
(3) Edmund’s first soliloquy in “King Lear”.
Shakespeare was closely associated with the ‘Royal Arch Freemasons’ and ‘Knights Templar’ for which letter ‘XIX’ of the Greek alphabet ‘Tau’ was not only an important symbol of the crucified Christ but also for him, the origin of what John Dee termed “the number of his name”, that number being ‘1740’.
Salvator Mundi by Leonardo da Vinci
Then, progressing beyond the critical number ‘XIX’ please be aware, as we proceed, how the numbers 5, 7, 12, 14 & 26 permeate this article.
‘The Essex/Christ allusion’ recognises eternal similarities between the lives and deaths of both Christ & Essex – manifest in the following perception:
Both Essex and Christ were born of Virgins
And both put to death for their beliefs
In stanza ‘four’ of “The Phoenix and the Turtle” the Earl of ‘Essex’ is allegorised by the “Swan” as in death he becomes a poetic follower of Apollo, the Requiem mentioned therein is for him not “The Phoenix and the Turtle”.
In the subsequent stanza ‘five’ Queen Elizabeth 1st is allegorised by the “treble-dated-crow”, our great author showing his polymath credentials – with a pun, as the fruiting palm-tree bears ‘dates’ and in Greek the mythical-bird and the tree are known equally as ‘Phoenix’. Of further relevance, is the reality in the summer of 1601 when the 67 lined Phoenix-poem (which has a Godly metre of ‘7’ beats per line) was published Elizabeth was 67 years old.
Elizabeth’s favourite ‘Robert Dudley Earl of Leicester’ was Essex’s father, upon who’s execution the Queen entered a terminal melancholy she was unable to rouse herself from, morbidly described by Shakespeare in line ‘7’ (alluding to her Godly 7th Sept. creation) as “fever’s end” (her demise).
The first rendition of “The Essex/Christ Allusion” is Line ‘XIX’ of the Bard’s avian-poem:
“With the breath thou giv’st and tak’st”
The death of Essex the cause of the irreversible slump and uncompromising sombre attitude appropriated by the Queen – in the guise of the “Dark-Lady” a torment more commonly known to us mortals as grief.
Concisely put, the following is its meaning:
Elizabeth the Virgin Queen gave breath to Essex at birth and when she signed his death warrant & he was executed she took his breath away.
The second rendition of “The Essex/Christ Allusion” we find expressed by Shakespeare’s sonnet ‘XIX’ (remembering it was both ‘Essex’ & ‘VVriothesley’ convicted of high-treason and sentenced to death, although only ‘Essex’ was executed). In (S.XIX) ‘Robert Devereux’s’ 2nd Earldom is cleverly identified by citing Dev for Devereux in the first and second lines, then following the death of this “fierce-tiger” our author’s attitude to his mother (Elizabeth) we find in sharp decline – as the “Turtle” (Shakespeare) implies he wishes the “Phoenix” (Elizabeth) burnt in her blood.
Devouring time, blunt thou thy Lions paws
And make the earth devour her own sweet brood,
Pluck the keen teeth from the fierce Tigers jaws,
And burn the long-lived Phoenix in her blood.
The third rendition of “The Essex/Christ Allusion” is found in ‘Edmund’s’ first soliloquy in Lear where number ‘XIX’ is represented by the word “lag”.
“For that I am some twelve of 14 moonshines lag of a brother”.
Our author’s genius gave him the ability to see words mathematically – in a system he was heavily invested in called gematria, a code where all letters of the ‘Elizabethan’ alphabet received numerical values: A = 1, B = 2, C = 3 etc. Then as: L = 11, A = 1 & G = 7, the word “Lag” converts gematrically to ‘XIX’ alluding to ‘Essex’ whose conviction for treason in Feb 1601 was on day ‘XIX’.
The Queen’s colours were black & white ‘Essex’ wore white as a symbol of his Royalty – while following his execution ‘Shakespeare’ wittily described these Royal habiliments as “Surplus whites”.
‘The Autobiographical Shakespeare’.
Unusually, in the line reproduced above from the ‘quarto’ of Lear we see the word “twelve” written in letters and ‘14’ in digits – its purpose – to attract our attention to this entirely autobiographical line.
Many of you will believe our author’s birthday to be either St Georges Day the 23rd of April or the 12th June – yet, neither of these dates are correct – as his TRUE date-of-creation (the actual day he was born) was July ‘14’, interestingly – the very day Romeo & Juliet met!
Like many of the ancient Greek philosophers our author was attracted to Hermeticism – believing the perfect number ‘7’ (his mother’s birthday) to be the number representing divinity between man and God. In very simple terms VII = G & G = 7. Because ‘G’ is the 7th letter of the alphabet, so to recall our authors TRUE-date-of-creation we simply double his mother’s: 2 x 7 = ‘14’.
The opening lines of (S.14) concur with this thought – as it begins with an astrological-allusion:
Not from the stars do I my judgement pluck
And yet me-thinks I have astronomy.
Our author’s friend and mentor Dr John Dee who also flew with Hermetical wings perceptively said:
Everything has its being in number.
The Old-Testament plight of ‘Moses’ hadn’t gone unnoticed by our great author, as he recollected the narrative of his life: ‘40’ years in the Pharaoh’s Palace, ‘40’ years in the Midian desert, & ’40’ years delivering his people from Egyptian servitude – and as God’s messenger when first going amongst the Israelites in Egypt, he was instructed to identify himself the following way:
“I AM THAT I AM”.
Then in verifying his meaning, in yet another expression of ‘Sacred 3’ our author uses this same biblical idiom three-times across the lifetime of his work, found in line ‘IX’ of his confessional (S.121) he uses it in mitigation for “vile deeds” (incestuous sins committed by him). It is also found in ‘Edmund’s’ second soliloquy in Lear, where he mentions his nativity as being under “Ursa Major” one of the original ‘48’ constellations identified by Ptolemy – cleverly alluding to the year of his birth ‘1548’, while the third rendition of ‘Moses’ Godly words are found in a letter written to Sir William Cecil, dated 30th October 1584, where he says in post-script:
My Lord, I mean not to be your ward nor your child – I serve her Majesty and ‘I AM THAT I AM’.
Looking further at the said autobiographical line from Lear it is possible – while giving credence to our author’s Godliness (regarding numbers 12 & 14) to learn a truly amazing fact about him:
In the mid-16th century, he was born to princess Elizabeth three months prematurely at gestation week ‘26’ on ‘July ’14’ 1548’.
This was approximately eight weeks before she reached the tender age of fifteen, and as “everything has it’s being in number” a way of remembering our author’s TRUE year-of-creation is by simply adding together the 15 & 33 that represent his mother’s Godly creation, because: 15 + 33 = 48.
Looking briefly at King John in which the word “blood” appears ‘40’ times, we see (unsurprisingly) our author’s empathy with illegitimacy knows no bounds! The character Robert Faulconbridge has a half-brother “Philip the Bastard” (the possible hero of the story) interestingly the ‘bastard’ (just like our author) has a very famous parent ‘Coeur-de-Leon’, and Robert Faulconbridge speaking of his consanguineous brother relays some extremely important information to us regarding the bastard’s nativity – of whom he says – he came into the world:
Full 14 weeks before the course of time.
Then King John, brother to the deceased Richard-the-Lionheart (through allusion) immediately relays to us the fact that the ‘Bastard Philip’ character – is an allegory of The Earl of Oxford:
In sooth, good friend, your father might have kept this calf, bred from his cow, from all the world.
This “calf” of course eventually becomes an “Ox” – a more blatant allusion to our ‘emasculated’ author – could not to be found! Consequently, we find ‘Oxford’s Royal nativity’ expressed mathematically by the following simple sum: 12 + 14 = 26. Not surprisingly – confirmation of this fact (as if straight out of the midwifes almanack) is found in line ‘14’ of sonnet ‘26’, our author identifying the moment of his own creation with the following words:
Show my head.
Gematria confirms ‘E’ for Elizabeth equates to ‘5’, while (according to rules instituted by our author) in being a ‘Prince’ she didn’t have a ‘birthday’ – but something more-Godly ‘a-day-of-creation’ 7th September 1533, because Gods are created not born – our author perceiving all princes as Gods, Hermeticism proclaiming ‘7’ the perfect number aligning humanity with God.
These figures therefore provide us with a further simple sum: 5 + 7 = 12 (a number representing our author’s official birthday) which for him merely became a rather tedious-token of his illegitimacy, but at least, he wasn’t an isolated bastard – because amongst his Royal brotherhood there were four other “enfants perdue”, including the Royal son he was excessively proud of – Henry VVriothesley, along with Francis Bacon, Arthur Dudley, and the half-brother he found himself sadly “Lag” of in early 1601 Robert Devereux (Essex).
The “Wellbeck Portrait” (illustrated) – originally painted in Paris in 1575 is in the ‘National Portrait Gallery’ London.
Gematrical speaking ‘W’ = 40, which when followed by the remaining 17 “numbers of his name” create the pseudonym ‘William Shakespeare’ thus introducing us to “The Oxford/Shakespeare brand 1740”, this being the year ‘Edward de Vere’ was re-buried in Westminster-Abbey – 136 years after his 1604 death.
The “Wellbeck Portrait” (illustrated) – originally painted in Paris in 1575 is in the ‘National Portrait Gallery’ London.
To reiterate: “the number” of Edward de Vere’s Royal Nativity is represented by the sum: 12 + 14 = 26, numbers individually identifying his official birthday: ’12’, his TRUE date-of-creation: ‘14’, and his ‘26’ week gestation birth.
Now, just in case you are needing some illumination regarding the remaining unlooked at word “Moonshines” from the autobiographical Lear, it relates to frequent allusions – found in Elizabethan times – between monarch and the ancient mythical Goddesses of the moon. Then in removing all doubt about who our author is actually alluding to, her death is mentioned the following way in line ‘5’ (S.107) – with the numbers ‘5’ and ‘7’ significant.
The mortal moon hath her eclipse endured.
In spite of the fact humanity is so much more easily seduced by fairy-tales than nasty facts about Tudor incest, I do believe I have adequately described the meaning of both “The Essex/Christ Allusion” & the important autobiographical line identified by me in Lear.
In denial, beginning (S.105) we find a self-conscious Edward de Vere 17th Earl of Oxford responsible for idolatrous thoughts regarding his Royal son Henry VVriothesley:
Let not my love be called idolatry.
Henry VVriothesley’s Royalty (& Godliness) was created in him by having both a biological Royal-father and a biological Royal-mother, although I rather get the impression our author didn’t consider himself any less Godly than his son – And it was certainly no trifling quote history bequeathed us (regarding Shakespeare) that originated on the lovey-lips of Sir Laurence Olivier – who lauded him:
The nearest thing in incarnation to a God.
Also worth recalling – are the Roman numerals ‘IX’ (Jesus Christ’s initials in Greek) and the fact ‘One’ (the Hebrew definition of God) was the appellation chosen by Oxford to describe his Godly son – a divinity multiplied three-times in his Phoenix-poem – in lines 26, 40 & 46. We must also never lose sight of the fact in Line ‘IX’ of his most important (S.33) the Godly Henry VVriothesley is described the following way:
My son ‘One’.
Then considering the biblical locus of the definition of God found in ‘Zechariah’ chapter ‘14’ verse ‘IX’, the question arises are these numbers just coincidence?
And the Lord will be King over all the land
In that day the Lord will be one and his name is ‘One’.
Using the precepts of Hermes Trismegistus inscribed on the “The Emerald Tablet”, when we arrive at the magic number ‘4’ regarding “the miracles of One”, we are enlightened the following way:
Its father is the Sun and its mother the Moon.
This is a perfect allusion regarding the immediate pedigree of Henry VVriothesley 3rd Earl of Southampton, 20th May 1574 – 10th November 1624, where Oxford (the sun) whose mother – Elizabeth (the moon) subsequently (incestuously) become the parents of ‘One’. Then with the Godly number ‘7’ predominating – this incestuous scenario represented by “The Tudor Trinity” (Elizabeth, Oxford & VVriothesley) we find explained by ‘7’ metrical beats per line in stanza ‘7’ of “The Phoenix and the Turtle”.
So they loved as love in twaine
Had the essence but in ‘One’
Two distincts, division none
Number there in love was slaine.
Chronologically speaking – Elizabeth’s first son “The first” became father to her fifth son Henry VVriothesley, therefore helping explain the incestuous acronym ‘S*O*M*E’ which gematrically equates to (18, 14, 12, 5).
Southampton and Oxford’s Mother was Elizabeth.
Which also helps explain line ‘14’ of his ‘26’ lined poem “A Narration” revealing the following autobiographical detail – where he describes himself:
“The soule of heavens labour’d Quintessence”.
Oxford considered himself the guardian-soul of Elizabethan princes – all having been divinely ordained in Heaven, the word “labour’d” used in the sense of childbirth, and while ‘quint’ means ‘5’ (the number of Elizabeth’s issue) ‘Queene’ is a marsupial of the word “Quintessence”.
Our great author with his polyglot credentials understood the meaning of “Quintessence” in a far more encompassing way than we generally do today – in a spiritual sense.
We therefore find ourselves in a labyrinth of Elizabethan numerology because gematrically speaking ‘E’ for Elizabeth = ‘5’ or “quint”, relating to the Latin quinta-essentia the ‘fifth-element’ which in terms of three-dimensional ‘Platonic solids’ is represented by the ‘dodecahedron’, the only one of the five with a five-sided face (pentagon) of which it has 12, with 30 edges, and 20 corners and internal degrees of 5040 a Godly number that may be seen as expressing the celestial state of “Quintessence”.
Found in “Love’s Martyr” the poem “A Narration” immediately follows “The Phoenix and the Turtle”, while on the page immediately preceding it his poem “The first” seeks to inform humanity he was “The first” issue from Elizabeth’s divine womb, the following – how the six lined verse begins:
The sil-ver Vault of heaven hath but one Eye and that’s the sunne.
Unless you are a complete nincompoop it is not too difficult to spot our authors initials “E” & “V” found capitalised in the original in line one. The poem is also blessed (dead centre) with the anagrammatic signature “E de Vere”.
Edward de Vere’s father Admiral Sir Thomas Seymour.
Oxford’s own father was Jane Seymour’s brother “Lord Admiral Sir Thomas Seymour” from ‘Wolf Hall’ of whom he had rather a poor opinion – having received from his mother a blow-by-blow account (re-told in Lear) of her insemination in a “dark and vicious place” before the assailant (by blinding) is (metaphorically) castrated, “my father with his bleeding rings their precious stones new lost.” While in ‘Edmund’s’ second soliloquy in Lear Oxford describes his sire as having a “goatish disposition” tempering this somewhat agricultural language by further informing us, that Elizabeth’s deflowering had a Godly outcome – our great author not conceived by the same rude function as us mere mortals, but by more ethereal “divine-thrusting-on” (words composed of ‘17’ letters) ‘three lovey-dovey words’ in Lear ‘immediately’ followed by the lewder:
“An admirable evasion of whoremaster man”.
While in the fact, the word “Admiral” is a marsupial of the word “admirable” we find our TRUE author 17th Earl of Oxford Edward de Vere – the opposite of evasive – instructing us precisely who his father was:
“Lord Admiral Sir Thomas Seymour”.
“Cleopatra” (Death through a Worm-hole)
Along with the dying breath that passed through Cleopatra’s warm lips came Shakespearian words – a “worm” bringing a beautiful cessation to the volatility and tragedy of her life, somewhat strangely identified with the masculine properties of yang not yin.
I am fire and air, my other elements I give to baser life.
We cannot negate the fact the word B*A*S*E converts gematrically to ‘26’, mathematically underpinning its domination of Edmund’s first soliloquy in Lear which concludes in line ‘14’ quarto:
Now Gods stand up for Bastards! (26 characters).
There is no expression without autobiography, Oxford himself certainly all fire & air at the denouement of his interpretation of “Antony & Cleopatra” replaces the historical words serpent, or asp with “W*O*R*M”, partially because of the word’s gematrical equation (40, 14, 17, 12) these being the numbers of his name “1740”, the numbers of his Royal nativity: 12 + 14 = 26, necessarily followed by the numbers of his demise and reburial – found in Line ‘IX’ (S.136) due to the indisputable fact he was reinterned in Westminster Abbey 136 years after his 1604 death – in the year 1740 – proven by the sum: 1604 + 136 = 1740.
‘IX’ ….. Then in that number (136) let me pass untold.
Revisiting ‘Platonic-solids’ – Oxford’s Royal nativity and TRUE date-of-creation are found in the element of ‘Fire’ symbolised by the ‘Tetrahedron’ triangle which has ‘4’ faces, ‘6’ edges, and ‘4’ corners = ‘14’, complimented by ‘Air’ symbolised by the ‘Octahedron’ with ‘8’ faces, ‘12’ edges and ‘6’ corners = ‘26’.
The respective internal degrees of these ‘Platonic solids’ accumulated are 720 & 1440 which added together (in miles) are the diameter of the Moon ‘2160’, part of the reason we find improvisations amongst our author’s works regarding ‘Sun & Moon’ – metaphorically meaning – himself and Elizabeth (irreversibly attracted by gravity) the son all ‘Fire & Air’ “pent” (S.133) within the mother – (the Moon) all ‘Earth & Water’ – the radius of the Moon – interestingly being ‘1740’ kilometres.
‘The Essex/Christ Allusion’ is the property of:
Philip Cooper fecit © 18th April 2024.