author of The Secret of The Shakespeare Plays
Francis Bacon was not satisfied with received knowledge. He waded out to the middle of that ocean and it came all the way up to his ankles. Traditional muses did not suffice either. So he chose a tenth muse while he was still in his teens in France. A letter Bacon received in 1582, from Jean De la Jesse, personal secretary to the duc d'Anjou identifies his tenth muse. Jesse asserts that his own Muse has been inspired by "Bacon's Pallas",
"bien que votre Pallas me rende mieux instruit".
Pallas Athena Herself. Goddess of Wisdom. The Spear -Shaker.When she shook her spear the light of knowledge flashed forth, and all the darkness of ignorance fled away. Those true filed lines were her offspring, as Ben Jonson broadly hinted in his somewhat awkward introductory verse to The First Folio:
"In each of which he seemes to shake a lance,As brandish't at the eyes of ignorance."
With such inspiration Bacon could do no less than to imitate God Himself. God had built the world (the great globe), and he, Bacon, would finish the job by planting a model of it within the human mind. He used the broad cycle of the Plays to shadow forth the Scheme of Things Entire.
If one examines the overall scheme of the Plays in the orderdesigned by Bacon in the First Folio, the pattern of an overall design can readily be seen. The Plays begin with the words: The Tempest, and end with the word Peace. An examination of the allegory at the beginning and ending of the Plays demonstrates the purpose behind this.
The allegory at the beginning of the Plays deals with the descent of the soul into the under world, the tempestuous sea of earthly existence. The ship upon which the passengers are found at the beginning of the play clearly has to do with this allegory, for the author has gone to great pains to point out that the passengers of the ship are to be considered as souls. In the short space of thirty lines they are three times referred to as souls. In this tempest of phenomenal existence the ship is wrecked and the souls enter that sea which seeps into every action, creating new compounds, sea-swallow'd, sea-sorrow, sea-marge, until the entire play seems subject to the spell of a sea-change and the still- closing waters become its image. This sea is the sea of life, the phenomenal world of change and time.
In the East this sphere into which the incarnating soul enters is referred to as Samsara, and often as the Sea of Samsara.In connection with the journey of the soul through Samsara, the ancient Eastern Traditions have another very strange idea. They say the whole experience is only an illusion, a cosmic dream, in which the self is caught, but from which it will awaken when it finally achieves liberation. The Great Lord Vishnu lays sleeping on his bed of Sesa, the King of Snakes. As he sleeps, he dreams. The dream is all of creation. When he awakes all creation will disappear. Many commentators have noticed the atmosphere of dream which permeates The Tempest.
The last play in the First Folio brings the story of the cycle of incarnation of the Samsaric Self to a conclusion. In his "Philosophies of India", Zimmer relates the tale of the symbolic story from the Sankhya Sutras:
"There was a king's son, once upon a time, who, having been born under an unlucky star, was removed from the capital while still a babe, and reared by a primitive tribesman. A mountaineer, outside the pale of the Brahman civilization. He, therefore, lived for many years under the false notion: 'I am a mountaineer.' In due time, however, the old king died. And, since there was nobody eligible to assume the throne, a certain minister of state, ascertaining that the boy had been cast away into the wilderness some years before was still alive, went out, searched the wilderness, traced the youth, and, having found him, instructed him: 'Thou art not a mountaineer; thou art the King's Son.' Immediately, the youth abandoned the notion that he was an outcaste and took to himself his royal nature. He said to himself:
'I am a king.'
So likewise, following the instruction of a merciful being,[a guru] who declares,'Thou didst originate from the PrimalMan, that universal life-monad which manifests through pure consciousness and is Spiritually all-embracing, and self-contained; Thou art a portion of that,' an intelligent person abandons the mistake of supposing himself to be a manifestation or product of Parkrti, and cleaves to his own intrinsic Being. He then says to himself: 'Since I am the son of Brahman, I am myself Brahman. I am not something different from Brahman even though caught in this bondage of the round of birth and death.'
In this version of the ancient tale the figure is expressed according to the nondual formula of Vedanta: Thou art That.'Thou art the Universal, only Self, though unaware of it.'This is the Buddhist message too: 'All things areBuddha-things.' Samsara, the realm of Birth and death, is but a vast spread-out illusion, a cosmic dream from which one must Awake. Cast away, therefore, this state of Ignorance, be rid of the notion that thou art an outcaste in the wilderness. Mount thy proper throne."
The outline of the story in Cymbeline is the same except we have two sons of the king, Guiderius and Arviragus who are disguised under the names of Cadwal and Polydore and believe themselves to be sons of the mountaineer Belarius. They are obviously modeled after the Dioscuri - Castor and Pollux otherwise known as Castor and Polydeuces, an improvement on the allegory of the Samsaric Self since one of the Dioscuri represents the immortal part, and the other the mortal part. At the end of the play Guiderius and Arviragus attain realization of their royal nature and cast off their delusion that they are mountaineers, thus ending the Samsaric cycle and returning to the peace of non-phenomenal existence.
Thus the Plays are rounded (pending benefit of asleep), showing both ends of the Samsaric Cycle. But there is another feature to the cycle. This feature is illustrated in the story Christ borrowed from The Buddha: The Parable of The Prodigal Son.
A man has two sons. The younger took his portion of goods and journeyed into a far country while the elder remained in his father's house. (Shades of Castor and Pollux!). There he wasted his substance with riotous living. When everything was gone a famine ensued. He then joined himself to a citizen of the far country who sent him into the fields to feed swine. Finally he sank so low he would have eaten the husks that the swine ate, but no one would give them to him. At last he came to himself and said I will arise and go to my father's house.
This is of course (since it is the mythos under which Buddha operated) the parable of the Samsaric Cycle of the Soul. It reveals that in the Samsaric Cycle the soul sinks lower and lower until it reaches the lowest point. This low point is not at the middle of the cycle, but is near the end. Nevertheless, symbolically at this point the soul is at midnight of the Samsaric cycle. It is smothered by materiality, (symbolically again) to the point of extinction. Then, and only then, is the soul enabled to return to its origin. Because the Lower Self must die in order for the Higher Self to assume it's rightful reign.
This nadir to the soul is symbolized in the Play of Othello, The Moor of Venice. The black color of Othello symbolizes materiality. Desdemona, who is smothered to death, and whose name means "wretched', symbolizes the soul at its lowest point in the Samsaric cycle. This is the midnight of the Plays, and gives a rather detailed allegory on the subject. The play also has an extended allegory of those portions of the Anatomy of Learning relating to this section of Bacon's Intellectual Globe. But the thread I want to follow goes to the other side of Bacon's midnight. This concerns his habit of showing to the people of his time their own face and merit, although he is careful to fashion his device so no man's picture can be too plainly found there.
Examine the Othello character closely and you will recognize Sir Walter Raleigh. When Othello describes telling Desdemona the story of his life:
"It was my hint to speak-such was the process; And of the Cannibals that each other eat, The Anthropophagi, and men who heads Do grow beneath their shoulders."
He refers to the same tale Raleigh bought back from Guiana. In their book,"The Shepherd of the Ocean" by Adamson and Folland we find told that on the trip to Guiana, Raleigh was told by a native of:
"A nation of people, whose heads appear not above their shoulders; which though it may be thought a mere fable, yet for mine own part, I am resolved it is true, because every child in the provinces of Aromaia and Canuri affirm the same: they are called Eqaipanoma: they are reported to have eyes in their shoulders, and their mouths in the middle of their breasts, and...a long train of hair groweth backward between their shoulders."
Adamson and Folland remark,
"The story of men with no heads raised more eyebrows and laughter in England than any other in Ralegh's account. No one appears to have believed it except for that beautiful creation of Shakespeare's imagination, the fair Desdemona."
So we see Raleigh and Othello telling the same tale. And Bacon had given notice of his intention of utilizing allusion as well as allegory and metaphor.
One reads further about the huge Turkish fleet approaching Cyprus, and the various estimates of it's size:
First Senator : Indeed, they are disproportion'd My letters say a hundred and seven galleys.
Duke : And mine a hundred and forty.
Second Senator: And mine two hundred and is transported to contemporary accounts about the approach of the Spanish Armada to England and the various wild speculations about it's size.
Othello is called upon to play a prominent part in this defense just as Raleigh was in the defense against the Armada.
Queen Elizabeth called Walsingham her Moor because of his swarthy complexion. As he grew older Raleigh was also noted for his swarthy complexion. Othello is a veteran of many battles, on sea as well as on land just as is Raleigh. We are told he is old. Iago says to Brabantio,"even now an old black ram is tupping your ewe." Raleigh was almost 40 at the time of his marriage to Bess, an advanced age for Elizabethans.
When we see Brabantio going on about Othello brewing magic portions to entrap his daughter, we have another allusion pointing to Raleigh who was a noted chemist, suspected by the common people of brewing diabolical portions:
O heaven! How got she out?
O treason of The blood!
Fathers, from hence trust not your daughters' Minds
By what you see them act, Is there not charms
By which the property of youth and maidhood
May be abus'd? Have you not read, Roderigo
Of some such thing?
That thou hast practis'd on her with foul charms
Abus'd her delicate youth with drugs or minerals
That weakens motion. I'll have't disputed on;
Tis probable, and palpable to thinking,
I therefore apprehend and do attach thee
For an abuser of the world, a practiser
Of Arts inhibited and out of warrant
She is abus'd, stol'n from me, and corrupted,
By spells and medicines bought of montebanks;
For nature so preposterously to err,
Being not deficient, blind, or lame of sense,
Sans witchcraft could not.
Why this should be. I therefore vouch again
That with some mixtures powerful o'er the blood,
Or with some dram conjur'd to this effect,
He wrought upon her.
Raleigh's secret marriage to Bess Throckmorton is paralleled by the story of Othello's secret marriage to Desdemonda. Where Othello is threatened with prison, Raleigh and Bess are actually sent to the tower.
"I confess the vices of my blood"
We know Raleigh was a hot blooded man with the opposite sex. One remembers the tale Aubrey told of him:
"He loved a wench well; and one time getting up one of the Mayds of Honour up against a tree in a Wood ('twas his first Lady) who seemed at first boarding to be something fearful of her Honour, and modest, she cryed, sweet Sir Walter, what doe you me ask? Will you undoe me? Nay, sweet Sir Walter! Sweet Sir Walter! Sweet Sir Walter! At last, as the danger and the pleasure at the same time grew higher, she cryed in the extasey, Swisser Swatter Swisser Swatter. She proved with child, and I doubt not but this Hero tooke care of them both, as also that the Product was more than an ordinary mortal."
Other aspects of Othello in the Play point to Raleigh, but, concurring with Andrew Marvell regarding lack of world enough and time, I will move on to Iago.
IAGO IS A COMPOSITE OF ROBERT CECIL AND HENRY HOWARD
In order to fashion a mirror reflecting Iago we must first open a small window into Elizabethan realpolitik. A window revealing a tale of perfidy seldom rivalled in the pages of history. As the final handful of sand in the hourglass of Elizabeth's reign began to ran out, the little hunchback, Robert Cecil had his "eyes on the prize". The Queen was fading fast. It was obvious she had only two or three years at the most left. A peaceful transfer of power must be engineered that would leave Cecil in his pre-eminent place of power which he had labored so long to attain. King James of Scotland was the obvious successor, but Cecil was behind on points. King James believed Cecil was complicit in the death of his beloved Essex. He must find some way to wiggle out from under that taint. What to do? What to do? Cecil did some fast mental tap-dancing, and decided drastic times called for drastic measures: he would recruit London's number one son-of-a-bitch (Cecil was too modest to admit that he himself was an odds on favorite for the title),- Lord Henry Howard!
Henry Howard is generally held, and with good reason, to be the most learned of Elizabethan noblemen. He was also an abomination. He hopped all over the Elizabethan landscape like a hobgoblin, moved by a "motiveless malignity", pursuing his favorite pastime of doing harm wherever the opportunity presented itself. With Cecil and Howard, Elizabethan London had two devils, and Raleigh had the misfortune to be in harm's way.
In April of 1601 Cecil launched a secret correspondence with James. Cecil summoned two couriers (Earl of Mar and Edward Bruce) to a secret interview at the duchy of Lancaster office in the Savoy. A code was devised with Northumberland 0, Raleigh 3, Cecil himself 10, the Queen 24, and James 30. Then Cecil and Howard went into high gear. Cecil's plan was to set up Raleigh as the man solely responsible for the death of Essex, to so besmear Raleigh as to fashion him into a such veritable fiend from hell thus drawing James' attention away from any misdeeds he might (rightly) imagine Cecil guilty off and, at the same time, while the process was ongoing, to meld himself to James' service. Before they finished Cecil and Howard had James almost believing that that "Great Lucifer" as they were wont to call Raleigh was the devil himself. And the operation was all the more perfidious because in the face he turned toward Raleigh, Cecil represented himself as Raleigh's very close friend. From the beginning of Raleigh's reign at court Cecil had established a close relationship with. Durham House was just across Ivy Lane from Robert Cecil's house, and the two families were very close. Raleigh and Bess were was practically a second father and second mother to Cecil's son.
When one realizes Bacon depicts Raleigh under the guise of Othello, and is familiar with the episode in Raleigh's life of the machinations of Cecil and Howard it becomes evident Iago is a composite of Cecil and Howard, and the perfidy of Iago in the play has it model in the perfidy practiced by Cecil and Howard. This adds another strand of allegory to the play, in addition to the allegory of the soul. This strand deals with the death of trust. Othello/Raleigh was a large souled, open natured man. He murdered the trust in his own nature, but he was impelled to this because of the deception of Iago, i.e. Cecil/Howard.
To anyone who has delved into the question of Bacon's concealed life and concealed authorship one question naturally comes to the fore. What was the real relationship between Bacon and Raleigh? These two loom over all others on the Elizabethan scene, and it would be fascinating to look behind the veil even though that look were only a brief glimpse. The answer to this question truly lies on the other side of midnight because this portion of the life of these two giants is blanketed in the deepest obscurity.
There is a quote somewhere from Sir Thomas Browne that says something to effect that, "What song the sirens sang, or what name Theseus assumed when he hid himself among the women, though puzzling questions, are not beyond all conjecture."Just because a question is obscure does not mean it precludes profitable speculation.
For the discerning few who have investigated the matter with an open mind Bacon's authorship of the Plays has been proven. Since this establishes Bacon wrote under a mask it is an invitation to further revelation. If Bacon wrote under one mask, chances are He wrote under others. For those who are aware of Bacon's authorship of the Shakespeare Plays, and who have investigated the question of his authorship of the Edmund Spenser's works carefully, it is evident Bacon wrote those works as well. And it is equally evident Bacon wrote the works attributed to Christopher Marlowe.
This gives a starting point from which we can walk down the green, shaded paths, of speculation, to find splashes of light thrown, here and there, on the relationship of Bacon and Raleigh.
In the summer of 1589, as the story goes, Raleigh weary of the court went off to Ireland and there he met Spenser, and the two men struck up an intellectual friendship. Spenser(Bacon) says:
One day...I sat(as was my trade) Under the foot of Mole, that mountain hoar,
Keeping my sheep amongst the cooly shade,
Of the green alders by Mulla's shore.
There a strange shepherd chanced to find me out,
Whether allured with my pipe's delight,
Whose pleasing sound yshrilled far about,
Or thither led by chance, I know not right:
Whom l when I asked from what place he came
And how he hight, himself he did yclepe
The shepherd of the ocean by name,
And said he came far from the main-sea deep.
He, sitting me beside in the same shade,
Provoked me to play some pleasant fit;
And when he heard the music which I made,
He found himself full greatly pleased at it.
Yet, aemuling my pipe, he took in hand
My pipe (before that aemuled of many),
And played thereon (for well that skill he conned),
Himself as skilful in that art as any.
He pip'd, I sung; and when he sung, I piped;
By change of turns, each making other merry,
Neither envying other nor envied-
So piped we, until we both were weary.
His song was all a lamentable lay
Of great unkindness and of usage hard,
Of Cynthia, the Lady of the Sea,
Which from her presence faultless him debarred,
And ever and anon, with singults rife,
He cried out, to make his undersong,
'Ah, my love's queen and goddes of my life!
Who shall me pity, when thou dost me wrong?"
So we gather that in 1589, when Raleigh was away from court, he and Bacon got together and gave a virtuoso performance of composing verse, a skill at which both were supreme masters. And we know that at this time Bacon was working on the Fairie Queen, at least one of the characters of which (Scudamore) was Raleigh. But was this their first acquaintance, or just a continuation of their acquaintance?
The evidence indicates it was the latter. I quote at length from "In Search of Christopher Marlowe" by A.D. Wraight. In 1583 the brilliant success of the production of Tamburlaine the Great in London established Marlowe's reputation. "A close look at the work shows not nearly so much the world conquering Tamburlaine as it does Raleigh. In the play we find the famous lines:
"Nature, that fram'd us of four elements
Warring within our breasts for regiment,
Doth teach us all to have aspiring minds:
Our souls, whose faculties can comprehend
The wondrous architecture of the world,
And measure every wandering planet's course
Still climbing after knowledge infinite,
And always moving as the restless spheres,
Will us to wear ourselves, and never rest"
which are out of place in the mouth of Tamburlaine, but of Raleigh it might truly be said he had an 'aspiring mind' that thirsted after 'knowledge infinite'. Of Raleigh it was said,"he had that awfulness and ascendency in his aspect over other mortalls" which the description of Tamburlaine immediately establishes:
"Of stature tall, and straightly fashioned
Like his desire, lift upward and divine"
And Raleigh had in recent years in other respects more nearly emulated the 'Scourge and Terror' of the world. Raleigh's campaigns in Ireland had been marked with a swift and relentless cruelty amounting to barbarism. Stories of his wholesale massacres of prisoners had lent terror to his name, and excited such horror throughout Europe that the Queen, secretly approving, felt it expedient to let it be known she was displeased at these extreme measures.
In December 1581 Raleigh arrived back in England figuratively dripping blood from the boggy fields of Ireland, with a reputation for ruthlessness relieved only by the stories of his equal recklessness and dare devil courage, and at once won the Queen's love and favour. When Tamburlaine burst upon the stage it's speeches might have reflected Raleigh's own daring and ruthless exploits. Eleanor Grace Clark has pointed out the parallels between Tamburlaine's siege of Damascus and Raleigh's behaviour at the siege of Fort Del Ore. Hooker, in his continuation of Holinshed, describes the slaughter of 400 Spaniards and Italians who were assisting the Irish rebels, and who held out although repeatedly called to surrender until they:
'begn to fear, somewhat prophetically, that what they had built for a garrison would prove their monument, and they should be buried alive in the ruins of it. Therefore, finding no succours arrive, they beat a parley, and hung out the white flag, crying out, Misericordia, misericordia. But the lord deputy would not listen to any treaty with the confederates of traitors and rebels.'
Raleigh, with Macwroth, was placed by Lord Grey, then Lord Deputy of Ireland, in charge of the brutal massacre that followed, in which not even the women were spared. Similarly Tamburlaine, before the walls of Damascus, deals out a merciless retribution for the Damascan's stubborn rejection of his calls to surrender, and the pleas of the virgins sent to beg for mercy fall on deaf ears:
What, are the turtles fray'd out of their nests?
Alas, poor fools, must you be first shall feel
The sworn destruction of Damascus?
They knew my custom; could they not as well
Have sent ye out when first my milk-white flags,
Through which sweet Mercy threw her gentle beams,
Reflexed them on their disdainful eyes,
As now when fury and incensed hate
Flings slaughtering terror from my coal-black tents,
And tell for truth submission comes too late?
Virgins, in vain you labour to prevent
That which mine honour swears shall be perform'd
Behold my sword; what see you at the point?
Nothing but fear and fatal stell, my lord.
Your fearful minds are thick and misty then,
For there sits Death; there sits imperious Death,
Keeping his circuit by the slicing edge.
But I am pleas'd you shall not see him there;
He now is seated on my horsemen's spears,
And on their points his fleshless body feeds-
Techelles, straight go charge a few of them
To charge these dames, and shew my servant Death,
Sitting in scarlet on their armed spears.
O' pity us!
Away with them, I say, and shew them Death!
It is a magnificent passage, lending an evocative beauty to deeds of horror, which must have fallen on Londoners' ears with a thrill of immediacy we cannot now recapture. Another point of resemblance is the same capacity for restless energy, ceaselessly striving after its goal, whether for knowledge or active enterprises, exemplified in both Tamburlaine and Raleigh, of whom Cecil was once moved to remark, 'he can toil terribly'. And, like Tamburlaine, who gloried in his 'golden armour like the sun', Raleigh delighted to stand at the Queen's door as Captain of Her Majesty's Yeomen of the Guard in the dazzling suit of silver armour he had had specially made."
"Yet from Raleigh's more amply documented life the final picture of a man of outstanding humanity emerges through all the welter of conflicting evidence that surrounds him."
We know Marlowe was closely
associated with Raleigh,
which means (if Marlowe was a mask for Bacon) Bacon was closely associated with Raleigh in the 1580's. This is certainly no surprise since they would have met frequently at Court, and in the House of Commons (of which they were both members, both frequently working on the same committees). But the 80's association takes us to another of the outstanding personalities of the era:
Phillip Sidney's Areopagus group was closely connected to John Dee. Bacon, under his mask of Spenser, was a member of this group. Dee's Diary records a visit by Bacon min 1582, and Raleigh was closely connected with Dee also. In Milton Waldman's biography, "Sir Walter Raleigh", we are told that,"Another bit of evidence of the degree of Raleigh's quick ascendancy with the Queen and in the eyes of men is patent in the diary of the quaint astrologer and mystic, John Dee, who in conversation with his familiar spirit records
'In respect of the Lord Treasurer, Mr. Secretary, and Mr. Rawley, I pray you what worldly comfort is there to be looked for?' Raleigh is here mentioned as one of an overshadowing triumvirate at the age of 31 [in 1582] - as a matter of fact he did oblige Dee and established a long acquaintance with him..."
Also in Dee's Diary we see a note by Dee that he dined with Sir Walter Raleigh at Durham House. We told that Dee had a prominent part in improving the charts and sailing instructions for the new ships and that Drake, Raleigh and Hawkins, as well as Frobisher, Humphrey, and Adrian Gilbert came to him for guidance (see "John Dee" by Richard Deacon). And also that Raleigh sent a letter to Dee assuring him of Elizabeth's good disposition toward him ("John Dee" by Richard Deacon). That Raleigh was wont to prompt the Queen to give attention to Dee. Dee's Diary says:
"The Queene went from Richmond toward
Greenwich, and at her going on horsbak, being new up, she called for me by Mr. Rawly his putting her in mynde.."
Peter J. French in his book "John Dee" says there was considerable communication between Dee's circle and that of Raleigh. That Raleigh did favours for Dee at court and had considerable respect for the man who directed the exploratory voyages of his half-brother, Adrian and Humphrey Gilbert." Robert Lacey in his book, "Sir Walter Raleigh",says,
"Dr. John Dee, the mysterious Welsh wizard whose astrological magic had been consulted back in 1558 to set Elizabeth's coronation date as the well-omened 15 January, had been one of the mentors of Humphrey Gilbert at Court, and had taken Walter Raleigh under his wing as well."
And in another place adds,"The Durham House set - Northumberland, Hariot, Hues, Warner and, for a time, Dr. John Dee - were with their telescopes, love of the stars and strange scientific experiments regarded by their contemporaries as Mephistophelean by definition." We are also told Raleigh invited Dee to Sherbourne to lecture on chemistry.
The Fame of the Royal Society. From Thomas Sprat's History of the Royal Society 1667
In the Center is a bust of the Society's Founder - Charles II
Left is William Brouncker- The first President
On the Right is Francis Bacon the Inspiration of the Royal Society
Dee, Bacon, and Raleigh are thus linked in the 1580's in England. This inevitably highlights the subject of the Rosicrucians and the question of Dee, Bacon, and Raleigh's connection with that mysterious Fraternity. In the very first document which introduces the Rosicrucians to a (ever since) confused world we are told of three brethren of the fraternity: D, R, and F.B., of whom by 1614, D had died, and only R,and F.B. were still alive. F.B. was described as the Master, painter, and architect of the Fraternity, and Later revelation furnished the fact that the first name of F.B. was Francis. Add to this the facts that (1) the document which brought the subject of the Rosicrucians to the attention of the world was sealed with the motto "Under the shadow of Jehova's wings" pointing to an incident in which Raleigh was involved, and (2) this document was packed with the stock ideas of Bacon, and (3) that the second document contained a portion of John Dee's Monas Hieroglyphic, unedited, and without benefit of figleaf, and (4) further information revealed the Rosicrucians were no fanciful fiction, but actually existed in England, and our cup runneth over.
The first point we want to look at is the basis for the factual existence of the Rosicrucians. The special mythos of the Rosicrucians was that they were "invisible" men who took the whole world to their care. Also, the various publications provided the information that they formed a "College". In 1647, in a letter to a friend, Robert Boyle, casually makes a startling revelation:
"The best on't is, that the cornerstones of the Invisible or (as they term themselves) the Philosophical College, do now and then honour me with their company...men of so capacious and searching spirits, that school-philosophy is but the lowest region of their knowledge; and yet, though ambitious to lead the way to any generous design, of so humble and teachable a genius, as they disdain not to be directed to the meanest, so he can but plead reason for his opinion; persons that endeavour to put narrow- mindedness out of countenance, by the practice of so extensive a charity that it reaches into everything called man, and nothing less than an universal good-will can content it. And indeed they are so apprehensive of the want of good employment, that they take the whole body of mankind to their care."
This is it. No more castles in the air. No more hypothetical Secret Society. We are dealing with a real fraternity. And with real people. Moreover, these real people exist in England near the period of Bacon's era.
Next we glance at the revelation that Francis was the first name of the mysterious F.B. In the Fama Fraternity, or a Discovery of The Most Noble Order of The Rosy Cross published in 1614, there is a description of how one of the brothers of the fraternity, thinking to alter some of the building Santi Spiritu, happened one day to remove a stone which revealed a hidden door. Clearing the remainder of the stones away from the door he saw written in large letters on it:
AFTER 120 YEARS I WILL APPEAR
the door opened the Brethren found a vault.
part of the ceiling. Instead of a tombstone a round altar
was in the middle of the vault, and engraved on it were
THIS COMPENDIUM OF THE UNIVERSE I
MADE IN MY LIFETIME TO BE MY TOMB
When the altar was removed the wonderfully preserved boedy of C.R.C. was found. In his hand was a book called "I" which, next to the Bible, was the greatest treasure of the Rosicrucians, and, at the end of the book was a eulogy which said (among other things) that C.R.C. had:
"...constructed a microcosm corresponding in all motions to the macrocosm and finally drew up this compendium of things past, present, and to come."
It was made clear this sentence
described his tomb, and underneath the brothers had subscribed
a reference is made to a
brother D. who, when he died
was succeeded by brother A.; to a brother F.B. who was Master, Pictor and Architectus of the Fraternity; and to a brother R who was a successor to Patris C.R.C. So there were three brethren: D, R, and F.B., one of whom had died by 1614 leaving brother R and brother F.B., and F.B. was the founder.
The first name of F.B. was FRANCIS. This information is supplied in 1648 in a book titled "Mathematical Magick" by John Wilkins, when discussing a kind of lamp for use underground, Wilkins says that such a lamp:
"is related to be seen in the sepulchre of Francis Rosicrosse, as is more largely expressed in the Confession of that Fraternity."
John Wilkins, was chaplain to the Elector Palatine, question, as is established by Frances Yates, in her book,"The Rosicrucian Enlightenment") and pillar of the ,movements leading to the Royal Society. This information is important also because it indicates Francis Rosicrosse should be equated with C.R.C., and that Francis Rosicross was the founder of the Fraternity. Is there evidence Bacon founded a Secret Society?
Rosicrucian Title-Page to Francis Bacon's De Sapientia Veterum
German translation 1654, depicting Bacon as head of the Rosicrucian Society
with three officers, or principles, attending him
The message in The Tempest, "sit the dial at NBW, F Bacon, Tobey", implies that it is addressed to "insiders" who are aware of the association of Bacon and Matthew, and who are familiar with the operation of the "dial". In his work, "Of The Interpretation of Nature", Bacon said:
"Now for my plan of publication-those parts of the work which have it for their object to find out and bring into correspondence such minds as are prepared and disposed for the argument, and to purge the floors of men's understandings, I wish to be published to the world and circulate from mouth to mouth: the rest I would have passed from hand to hand, with selection and judgment. Not but I know that it is an old trick of impostors to keep a few of their follies back fromthe public which are indeed no better than those theyput forward: but in this case it is no imposture at all, but a sober foresight, which tells me that the formula itself of interpretation, and the discoveries made by the same, will thrive better if committed to the charge of some fit and selected minds, and kept private. THIS HOWEVER IS OTHER PEOPLE'S CONCERN."
The phrase, "This however is other people's concern" screams, for anyone who will listen, that the succession group was already in place. We know that in his private notes Bacon had given thought to this:
"Foundac: Of a college for inventors, Library, inginary. Qu. of the order and discipline, the rules and praescripts of their studyes and inquyries, allowance for travailing, intelligence, and correspondence with ye universities abroad.Qu. Of the maner and praescripts touching secrecy, traditions, and publications."
Were Bacon, Raleigh, and Dee working together in those perilous times in a Secret Society designed by Bacon to spread light and convey revelations to the distant future? What about the Duc d'Anjou, Johann Valentin Andrea, and Prince August, Duke of Brunswick and Luneburg, were they all connected in some way to this mystery? Quite possibly, but until someone stumbles across additional concealed facts, additional details of the Spear-Shakers secret designs must remain concealed on the other side of midnight.
seSee: The Secret of the Shakespeare Plays