Francis Bacon :

A View From the Paraphysical Perspective

Part II



Mather Walker



In this article I have used material from writers contemporary to Bacon with the assumption that there were various "masks" He used to conceal his authorship. One of the ideas that has become current in our contemporary Internet oriented society is the use of firewalls as protection against those who would cause harm from outside. These "masks" were Bacon's firewalls, fashioned for protection in those very dangerous times. Loren Eiseley refers to men who died bloodily in that dangerous age, and says,

"Francis Bacon, by contrast, walks masked and cool through this age of violence. Traps snap on either side, associates perish, he remains. Even when he is caught between parliament and king, and a powerful enemy demands his imprisonment in the Tower-even then, he goes free."

The main writers I have used are Edmund Spenser and Robert Fludd. Enough material has already been published on the subject of Francis Bacon's authorship of the Spenser works to demonstrate that Spenser was one of his masks. I would recommend "Edmund Spenser and the Impersonations of Francis Bacon" by Edward George Harmon; "The Greatest of Literary Problems"by James Phinney Baxter; and "Tudor Problems" by Parker Woodward for those who wish to pursue this inquiry further.


On the other hand, to my knowledge, the subject of Bacon's authorship of the Robert Fludd works has not been broached, although there is much there that indicates Francis Bacon as the author. The publications that started the Rosicrucian furor came out with the impress of Bacon's thought written all over them. Then a "flood" of writing under the name of Robert Fludd came out with the obvious design of creating a body of serious literature to give solid support to the Rosicrucian myth. In "The Apologetic Tractatus for the Society of the Rosy Cross" Fludd reviews the arts and sciences, urging that they are in need of improvement. Natural philosophy, alchemy, medicine, all are defective says Fludd, and the all-important mathematical sciences are also defective. Frances Yates remarks, "Fludd's plea for the reform of the sciences has a Baconian ring.." (no kidding). Joscelyn Godwin says evidently Fludd wrote very fast (this was a known trait of Francis Bacon's). Fludd names as his two oldest and closest friends, Lancelot Andrewes and John Selden who were also the two oldest and closest friends of Francis Bacon. The cosmologies of Bacon and Fludd were strange but seemingly absolutely identical. Fludd uses the identical title of "ter Maximums" in dedicating a book to King James that Bacon used when he dedicated a book to King James. Fludd describes experiments he had conducted. These experiment extend and supplement experiments described by Bacon in his works. Fludd gives evidence of possessing the same psychic powers as Bacon. With Bacon's known M.O. of using actual people for "masks" for his anonymous works it is very reasonable to assume that Fludd was another of these "masks".


I believe Bacon gathered the mass of his paraphysical studies together and published them under the "mask" of Robert Fludd. These works remain buried today, locked in the prison of renaissance Latin, in massive, very rare tomes, of which only very minute selections have been translated into English. The main source I use here is "Mosaical Philosophy" a small selection from the Robert Fludd's work, edited by Adam Mclean with only 250 copies published by Magnum Opus Hermetic Sourceworks in Edinburgh, Scotland in 1979. A second work I have consulted here is "ROBERT FLUDD Hermetic Philosopher and Surveyor of Two Worlds" by Joscelyn Godwin, published by Shambhala Publication Inc in Boulder, Colorado in 1979. In this work is reproduced a Shakespearian tailpiece, found in Fludd's Anatomiae Amphitheatrum of 1623 (pp. 51, 218, 250, 285) and almost identical to that used repeatedly in the first folio edition of Shakespeare's works published in London in the same year. Godwin says that

"Manly P. Hall and others have remarked on the occurrence of similar or identical decorations in the King James Bible (1611) and in early seventeenth-century publications of Bacon, Shakespeare, Raleigh, Spenser, and others associated with underground spiritual movements. Whether Fludd was connected with any of these is a question for specialists in this controversial field."

And, finally, a third work I have consulted is "Doctor Robert Fludd" by J.B. Craven, published in a limited edition by Occult Research Press with no publication date given.


Francis Bacon: An Elizabethan Shaman?


Francis Bacon possessed abilities of such an extraordinary nature that it is necessary to go far afield to find parallels that will help us understand his remarkable endowments. A major parallel is found among primitive peoples.

In most "primitive" societies paraphysical matters fell under the purview of a especially qualified individual who held a special place in the tribe. Since the beginning of the twentieth century ethnologists have used a word from Siberia and Central Asia to designate these individuals. This word is Shaman.


As one example of the office of the Shaman we may take the phenomenon of death. In our "enlightened" contemporary society the presiding official at a funeral has only his abysmal ignorance to fall back on. In "primitive" societies the shaman (an expert in this field) entered a trance, left his physical body, and accompanied the spirit of the deceased to the "Realm of Shades" to aid him in his orientation to the new world in which he found himself.


Shamans came in two flavors. There were self-made, self-taught shamans on the one hand, and on the other hand shamans who were trained by shamans who were already practicing their craft. In both cases the shamans to be exhibited certain specific traits as young children. These traits were as follows: a sickly child; a withdrawn child; a contemplative child; and, especially a child subject to seizures which rendered him unconscious (See Shamanism by Mircea Eliade, Copyright 1964 by Bollingen Foundation, published by Princeton University Press).


These were all qualities noted in Francis Bacon. As a child he was sickly, withdrawn, and contemplative. Although we have no records of seizures which rendered him unconscious as a child, this is known to have applied to him as an adult.


Aubrey says,

"I remember Sir John Danvers told me, that his Lordship much delighted in his curious pretty garden at Chelsey, and as he was walking there one time he fell downe in a dead sowne. My Lady Danvers rubbed his face, temples, etc., and gave him cordiall water; as soon as he came to himselfe, sayde he, Madam, I am no good footman."


In Dr. Rawley's Life of Bacon he has the following remark:

"It may seem the moon had some principal place in the figure of his nativity: for the moon was never in her passion, or eclipsed, but he was surprised with a sudden fit of fainting; and that, though he observed not nor took any previous knowledge of the eclipse thereof; and as soon as the eclipse ceased he was restored to his former strength again."


The soul of people with an aptitude for the shamanistic trade resided but lightly in their physical bodies and could easily leave these vehicles. There are accounts of people who faint at the sight of blood or a pinprick. On the other hand there are accounts of people who have actually been torn apart by horses attached to their limbs yet did not faint during the entire process. The candidates for shamans would fell among the former category.


Shamans could withdraw the consciousness from the surface consciousness and move the awareness back to the anterior consciousness. That Francis Bacon had a consummate knowledge of all these matters is demonstrated by the deft briefs he gives on the internal nature of the soul in The Advancement of Learning. He says that divination which springs from the internal nature of the soul is made of two sorts, primitive and influxion, then goes on to give the following summary:

"Primitive is grounded upon the supposition that the mind, when it is withdrawn and collected into itself and not diffused into the organs of the body, hath some extent and latitude of prenotion; which therefore appeareth most in sleep, in extasies, and near death; and more rarely in waking apprehensions; and is induced and furthered by those abstinences and observances which make the mind most to consist in itself. By influxion, is grounded upon the conceit that the mind, as a mirror or glass, should take illumination from the foreknowledge of God and spirits; unto which the same regiment doth likewise conduce. For the retiring of the mind within itself is the state which is most susceptible of divine influxions; save that it is accompanied in this case with a fervency and elevation (which the ancients noted by fury), and not with a repose and quiet, as it is in the other."


Another place where Bacon shows an intimate knowledge of these matters is in "The Arte of English Poesie", a work attributed to George Puttenham, but in which there are obvious indications of the pen of Francis Bacon. The author says,

"I have come to the Lord Keeper Sir Nicholas Bacon & found him sitting in his gallery alone with the works of Quintilian before him,"

showing that the work was written by someone who had an intimate access to Nicholas Bacon. We must not forget that as Lord Keeper access to Nicholas Bacon was barred to all except a chosen few, and the author speaks as someone to whom this access was customary. This would place the author in a very restricted circle. The author remarks in a later passage,

"These & many such like disguisings do we find in mans behauiour; & specially in the Courtiers of forraine Countreyes, where in my youth I was brought up, and very well obserued their maner of life and conuersation.."

We know that this applies to Francis Bacon, further narrowing the possible candidacy for authorship of the piece. And when the author utilizes exactly the same analogy Bacon utilized in comparing the human mind to a glass there can be no reasonable doubt that the author was Francis Bacon: "

"And this phantasie may be resembled to a glass, as hath bene sayd, whereof there be many tempers and manner of makinges, as the perspectiues doe acknowledge, for some be false glasses and shew thinges otherwise than they be in deede, and others right as they be in deede, neither fairer nor fouler, nor greater nor smaller. There be againe of these glasses that shew thinges exceeding faire and comely; others that shew figures very monstruous & ill fauored. Even so is the phantasticall part of man.."


There are other allusions in "The Arte of English Poesie" that demonstrate it is the work of Francis Bacon. Having presented this much, however, I will take Bacon's authorship as a given and return to my original object which is the passage in "The Arte of English Poesie" that gives further evidence of Bacon's knowledge of the inner experience. Speaking of the ancient poets the author says:

"And because for the better execution of that high charge and function it behoued hem to liue chast, and in all holines of life, and in continuall studie and contemplation, they came by instinct diuine, and by deepe meditation, and much abstinence (the same assubtiling and refining their spirits) to be made apt to receaue visions, both waking and sleep, which made them vtter prophesies and foretell things to come."


In the Advancement of Learning Bacon also said that abstinence was one of the practices by which the mind could be made "to consist in itself." Not only did Bacon believe that "much abstinence" was one of the practices that allowed the ancients to promote the divine fury, but he followed this regime himself. In one of the letter from Gabriel Harvey to Spenser [Bacon] we find the following:

"You suppose it a foolish madd worlde, wherein all things are overruled by fansye. What greater error? All things else ar but troble of minde and vexation of spiritt. Until a mans fansye be satisfied, he wantith his most soveraigne contentement, and cannot never be at quiet in himselfe. YOU SUPPOSE MOST OF THESE BODILY AND SENSUAL PLEASURES AR TO BE ABANDONDID AS UNLAWFULL AND THE INWARDE CONTEMPLATIVE DELIGHTES OF THE MIND MORE ZELOUSLY TO BE IMBRACID AS MOST COMMENDABLE.

Good Lord, you a gentleman, a courtier, a yuthe, and go Aboute to revive so owlde and stale a bookishe opinion, Dead and buried many hundred yeares before you or I Knewe whether there were any worlde or noe!"


Shamans had the ability to leave the physical body, and travel to the higher realms. For example, the Buryat initiation of the shamans in central Asia made use of a ladder with seven rungs, each rung made of a different metals. By climbing this ceremonial ladder, the initiate passed through the "seven heavens," reaching the Empyrean. Other accounts of the out of the body journeys of the shamans dealt with a World Tree or Cosmic Tree that was the Axis of the World. By climbing this tree the shaman took an ecstatic journey to the Center of the World. This is curiously reminiscent of the Fairy Tale of Jack and the Beanstalk, and is probably not the result of accident, for other accounts of Shaman initiation tell of climbing a glass mountain which also figures in a number of Fairy Tales.

These accounts are associated with a very ancient idea.




Most of the very ancient nations and peoples entertained the idea that man was a replica in miniature of the earth. Related to this idea was the idea that in the greater system, the macrocosm, was a mind that corresponded to the mind in the miniature system, man the microcosm. The mind in the macrocosm was the universal mind, that is, the mind of universal nature, the mind in which archetypes existed that were the pattern of everything in the lower world. This was the realm Plato referred to as the world of forms. This was the source of beings, the pattern world, the fount of fashioning energies, the treasure house in which was stored up all the archetypal forms that were brought into the almost infinite variety of species of nature in the lower world. The accounts of the out-of-the-body experiences of shamans indicates they could ascent to this realm.

There is evidence that Bacon had this ability also, and was able to see into this universal mind, and had, in fact, journeyed all the way to it origin at the very fountainhead of nature. The various bits of information comprising this evidence can be gleaned from three sources: his acknowledged writing; his writings under the "masks" of Edmund Spenser; and his writings under the "mask" of Robert Fludd.When Bacon published Venus and Adonis in April of 1593 he gave to the world one of the most transcendental metaphysical documents ever written, put forth under the guise of erotic poetry. By Venus Bacon symbolizes love, and by Adonis he symbolizes the sun, and in Venus and Adonis he is symbolizing the operation of the primary cosmological principles that produce creation. In "The Wisdom of the Ancients" Bacon says:

"Thus the summary or collective law of nature, or the principle of love, impressed by God upon the original particles of all things, so as to make them attack each other and come together, by the repetition and multiplication whereof all the variety in the universe is produced, can scarce possibly find full admittance into the thought of men."


He takes up this allegory again in the "Faerie Queene", and some very curious material can be found under the section on "The Garden of Adonis." This garden is described as enclosed with two walls on either side, the one of iron, the other of bright gold, and Old Genius of double nature is the porter:

He letteth in, he letteth out to wend,
All that to come into the world desire;
A thousand thousand naked babe attend
About him day and night, which doe require,
That he with fleshly weedes would them attire:
Such as him list, such as eternall fate
Ordained hath, he clothes with sinfull mire,
And sendeth forth to liue in mortall state,
Till they againe returne backe by the hinder gate.

After that they againe returned beene,
They in that Gardin planted be againe;
And grow afresh, as they had neuer seene
Fleshly corruption, nor mortall paine.
Some thousand yeares so doen they there remaine;
And then of him are clad with other hew,
Or sent into the chaungefull world againe,
Till thither they returne, where first they grew:
So like a wheele around they runne from old to new.

Infinite shapes of creatures there are bred,
And vncouth formes, which none yet euer knew,
And euery sort is in a sundry bed
Set by it selfe, and rnckt in comely rew:
Some fit for reasonable soules t'indew,
Some made for beasts, some made for birds to weare,
And all the fruitfull spawne of fishes hew
In endless rancks along enraunged were,
That seem'd the Ocean could not containe them there.

Daily they grow, and daily forth are sent
Into the world, it to replenish more;
Yet is the stocke not lessened, nor spent,
But still remaines in euerlasting store,
As it at first created was of yore.
For in the wide wombe of the world there lyes,
In hatefull darkenesse and in deepe horrore,An huge eternall Chaos, which supplyes
The substance of natures fruitfull progenyes.

These verses describe the process taking place at the very fountainhead of creation. The only parallel I have found other than some particulars of the journeys of the shamans while out of the physical body, is the apocalyptic esotericism which existed in the last centuries of the pre-Christian era and dealt with the Mysteries of the Throne. This peculiarly Jewish mystical tradition had its beginning in Palestine among mystical groups dwelling apart in places of solitude. They have been called "Merkabah" mystics because they had visions of God's throne-chariot (the "Merkabah"). Their experiences were of a highly shamanistic nature. The Throne was seen by the mystic after having left his body and having passed upward through the seven heavens, and then through the seven palaces which existed in the seventh heaven. Over the throne was a firmament like crystal, and on the Throne was a being with the likeness of a man, but from his waist downward he had an appearance as if he was afire with a blazing brightness around him. The name of the being that sat upon the throne was Metatron, and the Throne was an archetypal pattern above of what existed in the earth below.


The description given in the works published under the name of Robert Fludd conform to the ideas expressed in the "Garden of Adonis" passages from Spenser. In these works Chaos supplies the substances of created beings, but the form is supplied by light. This agrees with Adonis in Spenser, since Adonis is the sun. In the Fludd works the Kabbalistic doctrine of the Merkabah Mystics is closely followed. Fludd (Bacon) says Metatron is the universal spirit which animates the entire world, but he also derives the archetypal world from first principles. He says:


"After the Author had by diligent enquiry understood that all Sympathy and Antipathy did spring immediately from certain different passions of the Soul, or vivifying spirit, whereof the one is Concupiscible, and the other is Irascible, and yet perceived them by effect to be in Creatures, as well Vegetable and Mineral as Animal, he was surprised with an especial desire, to find out the radical occasion or beginning thereof. And when he had well pondered and considered that Eternal Unity (which is the head and root of all things) in its simple and absolute nature, he could discern no such diversity in its essence, seeing that it exists for evermore, but only one and the same Identity."

Just how was he able to perceive the Eternal Unity so that he could examine it and could discern no diversity in its essence? Had he made a shamanistic journey out of the body akin to that of the Merkabah Mystics so that he could pass upward through the seven heavens to the very pinnacle of existence? Logic would indicate that this was the case, and that Bacon had gone beyond the Merkabah Mystics and the Throne to the Eternal Unity Itself. The author goes on to say:

"Wherefore he gathered, that a two-fold aevial effect or principle, clean opposite unto one another in condition and disposition, must needs spring and arise from these two properties in that one entire essence, namely Nolunty and Volunty, whereof the first was expressed by darkness, and the other by light. For when this mental Eternity, and Infinite light, in whom verily there is no darkness, wills not, it reserves itself within itself, that is it reflects its beams into itself, and so enforms nothing by its presence, but leaves the universal Abyss or Chaos (which is said in this estate to dwell or exist in divine puissance) dark, deformed, quit void, and destitute of its vivifying act, or resplendent brightness, and this negative action is the perfect character of his Nolunty, the general effects whereof are darkness and privation.

But when this abstruse unity does send out the benign and salutary brightness of its essence (which is the expression of his Volunty or Will) into the deformed Chaos, then deformity, or darkness and privation are forced to give place unto their opposite co-rivals, Conformity or Light and Position, which are affirmative acts of life and essential existence."


There is not space here to follow his ideas, but Fludd proceeds from the exposition already given to show how the archetypal world was formed, and how from this all living creatures were given life and form. He sees the angelic entities as archetypal entities that impart special classes of qualities to the respective categories of living beings. He goes into the subject of the "spirits" in living creatures, showing how they were imparted from the first cause, and extending the treatment of this subject that Bacon had given in his acknowledged writings, and describes many curious experiments with the and with magnetic forces.




In various nations and cultures the existence of a paraphysical energy has been recognized that is related to paraphysical faculties in man. In his book, "The Search for Psychic Power", David Hammond gathers a good deal of information on this subject. This energy was called prana in ancient India, and was said to be the means by which one person could impart healing energy to another. In ancient China the energy was known as Ch'i. The knowledge of this energy was systematized into the theory and practice of acupuncture. According to George Gurdjieff this energy could be projected and used to hypnotize people at a distance. This is the basis for the story in the Bible of the duel between Moses and the Egyptian priests. Their staffs turned into snakes, but his turned into a snake that swallowed up all of theirs. All of this was an illusion created using the paraphysical energy for telepathic hypnotism, and Moses demonstrated a greater control and power. Some other names given this energy were:

Life Energy or
Mana Pacific civilization-Edgar Cayce

Vital Fluid -Alchemists

Universal Fluid -Anton Mesmer

Odic Force- Baron Karl Von Reichenbach

Elan Vitale- Henri Bergson

X-Force- L.E. Eeman

Orgone Energy- Dr. Wilhelm Reich

Prephysical Energy- George de la Warr

Eloptic Energy -T. Galen Hieronymous

Psychontronic Energy Or Bioplasma- Various Czech and Soviet researchers

Hanbledzoin -George I. Gurdjieff


The tenth book of the the Sylva Sylvarum demonstrates that Bacon was familiar with this energy under his nomenclature of "spirits" and that he had experimented with it. Bacon speaks of experiments relating to the transmission of spirits and the force of the imagination. He says,

"Men are to be admonished that they do not withdraw credit from the operations by transmission of spirits and force of imagination because the effects fail sometimes." He further says, ".this is the principal in our intention to handle now in this place; namely, the operation of the spirits of the mind of man upon other spirits: and this is of a double nature; the operations of the affections, if they be vehement; and the operation of the imagination, if it be strong."


When Bacon uses the word affections he means the same thing that we today mean when we use the word emotions. This is interesting because certain contemporary experimenters have discovered that strong emotions can effect psychic abilities. In his book, "Beyond Telepathy", Andrija Puharich relates an experiment with Peter Hurkos in which an emotional state of exceptional intensity enhanced his psychic ability:


While working with Peter Hurkos I observed that he seemed to have an abnormal fear of electricity. I knew that Hurkos, as a telepathic sender working with Harry Stone under normal room conditions, could achieve an average score of about twelve hits out of fifty ESP-test Trials. This is barely significant for telepathy in one run. I therefore planned an experiment in which he, as the Sender, was supposed to sit on a foot plate which had a ten-thousand-volt direct current charge on it. Actually the nature of the charge was such that even though he was sitting on the foot plate and the electricity was turned on, he would not experience any shock. I explained this carefully to Peter and assured him that he would in any way be hurt. He was enterprising enough to go ahead with the experiment, but I could see grave doubts and fears written all over his face as the experiment began. The experiment was extraordinarily successful. The average score jumped from the twelve correct hits out of fifty to thirty-one correct hits out fifty trials. This was overwhelming evidence of telepathic interaction. There is no doubt that Hurkos' fear was profound as he sat on the electrically charged foot plate. I repeated these experiments seven times with the same results."


Francis Bacon and the Fragrance of Rainbows


In Part I of this article I discussed the evidence that indicates Francis Bacon possessed paraphysical vision. There is also evidence that Bacon possessed a paraphysical sense of smell. There are a number of indications of the acuteness of his sense of smell. For example, his servants could not wear boots with a certain type of leather because his sense of smell was so acute he could not tolerate the odor. Sylva Sylvarum supplies evidence that Bacon could actually detect a fragrant odor from rainbows. Bacon discusses the observation by some ancients that where a rainbow seems to hang over or to touch, there is a sweet smell. In the course of this discussion Bacon shows such an intimate familiarity with the phenomenon that it seems evident that he himself had experienced it. I know of only one other source that treats the phenomenon of the superphysical ranges of the human sense of smell. This is George Gurdjieff's masterpiece, "Beelzebub's Tales to His Grandson" where he discusses how certain ancients possessed not only a vision, but a sense of smell which extended into a range enormously beyond that of modern man.


Francis Bacon and the Ability to Write True


An odd form of psychic ability is that possessed by certain individuals whose surface mind taps the mind behind the mind when they are doing creative writing and supplies information the surface mind does not possess. For example, Jonathan Swift in "Gullivers Travels" described the two moons of Mars, their relative sizes and speed, long before it was even known that Mars had moons. Also, more than a hundred years before the moonshot, Jules Verne wrote a story in which the United States had become the first nation to travel to the moon. In Verne's story three men were shot into space from a launching pad in Florida not far from the place later known as Cape Kennedy at a speed of 25,000 miles per hours. These were all details that agreed with the detail when the moonshot finally took place.

Still another curious instance of this nature was the novel written by Morgan Robertson that anticipated the Titanic disaster. Walter Lord described this novel in the preface to his book about the sinking of the Titanic, "A Night to Remember" in the following words:

"In 1898 a struggling author named Morgan Robertson concocted a novel about a fabulous Atlantic liner, far larger than any that had ever been built. Robertson loaded his ship with rich and complacent people and then wrecked it one cold April night on an iceberg. This somehow showed the futility of everything, and in the book was called `Futility' when it appeared that year, published by the firm of M.F. Mansfield.


Fourteen years later a British shipping company named the White Star Line built a steamer remarkably like the one in Robertson's novel. The new liner was 66,000 tons displacement; Robertson's was 70,000. The real ship was 882.5 feet long; the fictional one was 800 feet. Both vessels were triplescrew and could make 24-25 knots. Both could carry about 3,000 people and both had enough lifeboats for only a fraction of this number. But than, this didn't seem to matter because both were labeled `unsinkable.'

On April 10, 1912, the real ship left Southampton on her maiden voyage to New York. Her cargo included a priceless copy of the Rubaiyat of Omar Khayyam and a list of passengers collectively worth two hundred fifty million dollars. On her way over she too struck an iceberg and went down, on a cold April night.

Robertson called his ship the Titan; the White Star Line called its ship the Titanic."


In "The Art of English Poesie" Bacon describes how the ancient poets could write about things of which they had no knowledge and describe these things accurately. Bacon says:

"And this science in his perfection can not grow but by some diuine instinct-the Platonicks call it furior; or by excellencie of nature and complexion; or by great subtiltie of the spirits & wit; or by much experience and obseruation of the world, and course of kinde; or, peraduenture, by all or most part of them. Otherwise, how was it possible that Homer, being but a poore priuate man, and, as some say, in his later age blind, should so exactly set foorth and describe, as if he had bene a most excellent Captaine or Generall, the order and array of battels, the conduct of whole armies, the sieges and assaults of cities and townes? Or, as some great Princes maiordome and perfect Sureyour in Court, the order, sumptuousnesse, and magnificence of royal bankets, feasts, weddings, and enteruewes? Or, as a Polititian very prudent and much inured with the priuat and publique affaires, so grauely examine the lawes and ordinanances Ciuill, or so profoundly discourse in matters of estate and formes of all politique regiment?

Finally, how could he so naturally paint out the speeches, countenance, and maners of Princely persons and priuate, to wit, the wrath of Achilles, the magnanimitie of Agamemnon, the prudence of Menelaus, the porowesse of Hector, the maiestie of king Priamus, the grauitie of Nestor, the pollicies and eloquence of Vlysses, the calamities of the distressed Queenes, and valiance of all the Captaines and aduenturous knights in those lamentable warres of Troy?"

It is to be noted that writing under his own name Bacon had said the ancients referred to this faculty as "fury", and "The Arte of English Poesie" says the Platonicks called it "furior". It is most probable that Bacon had noted evidence of this faculty it in his own writings, and this was the root from which his familiarity with it sprang. There are many instances of this in the "Shakespeare" plays, and it is probable that Bacon possessed this faculty to a degree and level that it has never been possessed before or since, although in the case of Francis Bacon there is some doubt as to whether the faculty was exercised unconsciously as was the case with other individuals.





There is a very good book about Bacon, by Loren Eiseley, entitled "The Man Who Saw Through Time." Eiseley referred to Bacon as the man who saw through time because he recognized that Bacon had foresaw in general terms so many of the aspects of a science which had not yet been created. Eiseley attributes Bacon ability to do this to his great intellectual vision. On the other hand there seems to be somewhat more here. It seems to me that there is evidence that Bacon could actually see through time. In The New Atlantis when the Father of Salomon's House tells the visitors about the inventions possessed by Salomon's House he describes, among other curious inventions, hearing aids, submarines, airplanes, and telephones. The reference to telephones speaks of conveying sounds "in strange lines and distances." It is, of course, commonplace to us today that telephones convey sounds over great distances through telephone lines. But for some in Bacon's day to know this is altogether a different matter.