William Shakespeare’s S*O*M*E acronym

September ‘7’ in the year 1533 was the birthday of Queen Elizabeth 1 a fact confirmed by enlightenment of William Shakespeare’s SOME acronym, written large by him in his sonnets, and why drafted here are ‘7’ reason’s Edward de Vere associated his July ‘14’ creation with scenes of great historical and literary importance.

1. “Romeo & Juliet” meet on Edward de Vere’s TRUE July ‘14’ birthday ‘17’ days prior to “Lamas Eve” the 31st July – Quote:

   “Come Lamas Eve at night she shall be ‘14’.

   As the 17th Earl of Oxford was illegitimate by “curiosity of nations” it was determined essential he had an additional official birthday – 12th April 1550, while employing simple mathematics William Shakespeare’s -sonnet ‘14’ explains how ‘17’s TRUE day-of-creation was ‘14’.

2. “Antony & Cleopatra” sees our fabled Egyptian Queen dying by death of worm! Our great author, poet and playwright was obsessed by worms which appear in 30 or more of his plays, something accentuated in ‘Q’ as within 36 lines these invertebrates get mentioned ‘IX’ times. In all other versions Cleopatra is poisoned by a serpent, a viper or an asp, but at the denouement of Shakespeare’s play she dies by death of worm which significantly in French is ‘ver’ pronounced ‘vair’ – this is preceded with a question for her clown:

   “Has thou the pretty worm of Nilus there, that kills and pains not?”

   There is only one Act ‘14’ in the play which occurs in Scene ‘4’, Oxford alluding to his TRUE day-of-creation when a heartbroken Antony learns Cleopatra has taken her own life and orders Eros to take his, who disobeys him – taking his own life – so Antony falls upon his sword (seriously injured) before finally being taken to Cleopatra – who he finds still alive.

3. “King Lear” provides three autobiographical soliloquys spoken by “Edmund” in Act 1, and with ‘mund’ being the German word for ‘mouth’ this makes “Edmund” a mouthpiece for ‘Edward’.

   (Sol.1) speaks of “twelve or 14 moonshines” with the ‘mothership’ here (the mortal moon) whose demise Shakespeare describes rather cleverly in line ‘5’ sonnet (S.107) “The mortal moon hath her eclipse endured”, systematically employing the codified numbers ‘5’ & ‘7’ to identify Elizabeth, ‘E’ being letter ‘5’ of the alphabet, ‘7’ her day-of-creation.

   All Elizabethan princes (which numbered ‘6’, although only the Queen was legitimate) believed themselves divinely ordained in Heaven and consequently didn’t like to think of themselves as having such mundane things as birthdays – but like Gods were created. We have already seen Edward de Vere’s detested official birthday was April ‘twelve’, more importantly, his TRUE day-of-creation was ‘14’ and celebrating this fact we find “Edmund’s” first soliloquy ‘Q’ to be composed of ‘14’ lines, words finally concluding – alluding to his illegitimacy:

   “Now, Gods stand up for Bastards!”

4. “King John” in part, is also autobiographical – Oxford replaced by the ‘bastard’ character “Philip” whose legal brother “Robert Faulconbridge” enlightens us significantly in ‘Q’ line ‘114’ informing us his illegitimate Royal brother came into this world:

   “Full ‘14’ weeks before the course of time”.

   Here we realise – what we already knew – Oxford was no ordinary mortal. He was born ’14’ weeks prematurely at gestation week ‘26’ fortunately for humanity in the middle of summer! (S.26) confirms this fact by using language that appears to have been lifted straight out of the ‘Midwifes-almanack’, using the words “bare” and then “show” three times, then “all naked”, before finally in line ‘14’ concluding with the words “show my head”.

5. “Sonnet 76” is the central sonnet of Shakespeare’s sonnet sequence composed of 152 sonnets plus an auxiliary pair of ‘epigrams’ known as the ‘Bath Sonnets’, and as a Shakespearean sonnet is constructed of ‘14’ lines the dead centre of his sonnet sequence is line ‘7’ of (S.76) the following is what that line says:

   “That every word doth almost tell my name”.

   From the year 1133 part of the Earl of Oxford’s hereditary responsibilities as Lord Great Chamberlains was as “Everys” to supply coronation drink for the monarch, and water for their ablutions – to wash the monarch’s hands before and after feasting. This duty is alluded to at the conclusion of sonnet ‘114’ – a sonnet number our author saw in a bipartite way – a Godly ‘One’ representing Henry VVriothesley and ‘14’ for himself.

   On the 25th July 1603 at the coronation of King James 1st Edward de Vere was obliged to “prepare the cup” for the newly crowned King to drink from – his Tudor soul infected with the enduring belief his “perfect” son ‘Southampton’ the ‘first’ heire of his invention, should be next in line of succession, and not the nine year old Scottish ‘Henry Frederick Stuart’.

   

   Old Father Time (offering hope & opportunity) was appropriate when this fabulous equestrian portrait of the teenage ‘Henry Frederick Stuart – Prince of Wales’  held at Parham Park in West-Sussex was painted by Robert Peake the elder C.1610. It was expected in time he would become King of England and Scotland, but following the tragic death of the Prince aged eighteen father-time was painted over – only to be rediscovered in more contemporary time.

   At the conclusion of (S.114) we find the 17TH Earl of Oxford having subversive thoughts regarding drink prepared for the kings palate:

   If it be poisoned tis the lesser sin
   That mine eye loves it and doth ‘first’ begin.

   Not wanting to fall out with the old guard ‘King James’ flattered VVriothesley, greeting him; “Oh, tis the first” (alluding to the Tudor line of succession) divulging the fact that he knew VVriothesley was “first”.

   Concluding (S.76) anecdotally – Oxford’s genius helped him see all letters mathematically (in conjunction with the Elizabethan alphabet) perceiving all letters gematrically, for as we see in (S.76) ‘every’ word almost tells his name – the maths concurring:

   O = 14, X = 21, F = 6, O = 14, R = 17, D = 4  totalling ‘76’.

6. “Titus Andronicus” is a bloodthirsty play where there could have been any number of deaths but there just happens to be ‘14’ as they symbolise the opprobrium of illegitimacy suffered by our great author who felt he died a little every day. It is a play set in the late Roman period (over 1600 years ago) therefore, there can be nothing more ridiculous than the fact a school textbook first published in 1534 about ‘Latin Grammar’ which all Elizabethan schoolkids would have been familiar with gets a mention. Now, whether you have ever desired an anachronism on steroids, or not, here comes one! “William Lily’s Latin Grammar” commonly referred to at the time as the accidence gets a plug by two Roman soldiers on stage who find a scroll amongst some weapons destined for ‘Titus’ (which is no accident but cunningly conceived by our great author). Demetrius then reads aloud two lines in Latin written on the scroll – as Chiron subsequently exclaims:
   
   “O, tis a verse in Horace; I know it well I read it in the Grammar long ago”.

   Looking at ‘the very first page’ of the “Grammar”, the following is what the last complete paragraph says:

   “A noun substantive either is proper to the thing that it betokeneth, as Edwardus is my proper name, or else is common to more, as Homo is a common name to all men”.

   Therefore, via a most obvious anachronism in a Roman play by William Shakespeare we learn our TRUE author’s name in Latin is “Edwardus”.    A fact confirmed because found in “Henry IV pt. 1” the character “Gadshill” when alluding to humankind also quotes from the “Grammar” where in Act 2 Scene 1 he elucidates:

   “Homo is a common name to all men”.

7. “Sonnet 91” blatantly informs us in line ‘IX’ our author is of “High birth” as addressing Henry VVriothesley 3rd Earl of Southampton he says:

   “Thy love is better than High birth to me”.

   This Royal fact is confirmed in the first stanza by ‘7’ iterations of William Shakespeare’s S*O*M*E acronym:

   Some glory in their birth, some in their skill,
   Some in their wealth, some in their bodies force,
   Some in their garments, though new-fangled ill,
   Some in their Hawks and Hounds, some in their Horse.

Of course, this fabulous idea of mine – honouring his mother’s creation – by drafting ‘7’ reasons correlating his July ‘14’ creation with scenes of great historical or literary importance – was not mine at all – but his!

I have merely replicated the process found in the first stanza of (S.91) where in honouring Elizabeth’s day-of-creation he deliberately provides ‘7’ repetitions of the Princely acronym S*O*M*E – with its Royal meaning:

Southampton and Oxford’s Mother was Elizabeth.

Obviously I cannot say something which many people may find offensive without being able to back-up the meaning of the S*O*M*E acronym with hard facts. My work “Twelve or 14 moonshines” explains the whole Princely shebang – So please take a look at: www.call-me-naive.com.

William Shakespeare’s S*O*M*E acronym equates gematrically like this: S = 18, O = 14, M = 12, E = 5. Here we find Oxford’s TRUE day-of-creation ‘14’ and his official birthday ‘12’ bookended by his son Southampton ‘18’ and his mother Elizabeth ‘5’, Oxford greatly appreciated the sum of these numbers ‘49’ being a reflection of his Godly self ‘40’ and Christ ‘IX’.

The number ‘40’ is illuminated in (S.91) ‘Q’ because in line ‘4’ the words “Hawks, Hounds & Horse” are all capitalised, as again in line ‘11’ are the words “Hawks & Horses”, the reason being, ‘H’ is letter ‘8’ of the alphabet, and 5 x 8 = ‘40’

My article “Twelve or 14 moonshines” explains as Oxford was illegitimate he had two birthdays, “twelve” his official birthday and ‘14’ his TRUE day-of-creation. His Godly son ‘One’ we find described in line ‘IX’ (S.33) employing the homophone “Sunne” in the phrase “my Sunne one”, Southampton is also provided with two dates representing his Royal nativity – an official birthday, 6th October 1573 and his TRUE day-of-creation May 20th 1574 – which quite naturally was the greatest day of Edward de Vere’s incredibly gifted and fruitful life.

Philip Cooper fecit © 20th May 2025.