Evidence #1 if Bacon = Shakespeare:
-from The Tempest, I, ii.
Sit down;
For thou must now know further.
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Miranda. You have often
Begun to tell me what I am, but stopp’d,
And left me to a bootless inquisition,
Concluding, ‘Stay; not yet.’
Prospero. The hour’s now come,
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The very minute bids thee ope thine ear;
Obey and be attentive. Canst thou remember
A time before we came unto this cell?
I do not think thou canst, for then thou wast not
Out three years old.
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Mira. Certainly, sir, I can.
Pro. By what? by any other house or person?
Of anything the image tell me, that
Hath kept with thy remembrance.
Mira. ’Tis far off;
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And rather like a dream than an assurance
That my remembrance warrants. Had I not
Four or five women once that tended me?
Pro. Thou hadst, and more, Miranda. But how is it
That this lives in thy mind? What seest thou else
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In the dark backward and abysm of time?…
Mira. Sir, are not you my father?
Pro. Thy mother was a piece of virtue, and
She said thou wast my daughter; and thy father
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Was Duke of Milan, and his only heir
A princess,—no worse issued.
Mira. O, the heavens!
What foul play had we that we came from thence?
Or blessed was ’t we did?
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Pro. Both, both, my girl:
By foul play, as thou say’st, were we heav’d thence;
But blessedly holp hither.
Mira. O! my heart bleeds
To think o’ the teen that I have turn’d you to,
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Which is from my remembrance. Please you, further.
Pro. My brother and thy uncle, call’d Antonio,—
I pray thee, mark me,—that a brother should
Be so perfidious!—he whom next thyself,
Of all the world I lov’d, and to him put
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The manage of my state; as at that time,
Through all the signiories it was the first,
And Prospero the prime duke; being so reputed
In dignity, and for the liberal arts,
Without a parallel: those being all my study,
90
The government I cast upon my brother,
And to my state grew stranger, being transported
And rapt in secret studies. Thy false uncle—
Dost thou attend me?
Mira. Sir, most heedfully.
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Pro. Being once perfected how to grant suits,
How to deny them, who t’advance, and who
To trash for over-topping; new created
The creatures that were mine, I say, or chang’d ’em,
Or else new form’d ’em: having both the key
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Of officer and office, set all hearts i’ the state
To what tune pleas’d his ear; that now he was
The ivy which had hid my princely trunk,
And suck’d my verdure out on ’t.—Thou attend’st not.
Mira. O, good sir! I do.
105
Pro. I pray thee, mark me.
I, thus neglecting worldly ends, all dedicated
To closeness and the bettering of my mind
With that, which, but by being so retir’d,
O’erpriz’d all popular rate, in my false brother
110
Awak’d an evil nature; and my trust,
Like a good parent, did beget of him
A falsehood in its contrary as great
As my trust was; which had, indeed no limit,
A confidence sans bound. He being thus lorded,
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Not only with what my revenue yielded,
But what my power might else exact,—like one,
Who having, into truth, by telling of it,
Made such a sinner of his memory,
To credit his own lie,—he did believe
120
He was indeed the duke; out o’ the substitution,
And executing th’ outward face of royalty,
With all prerogative:—Hence his ambition growing,—
Dost thou hear?
Mira. Your tale, sir, would cure deafness.
125
Pro. To have no screen between this part he play’d
And him he play’d it for, he needs will be
Absolute Milan. Me, poor man,—my library
Was dukedom large enough: of temporal royalties
He thinks me now incapable; confederates,—
130
So dry he was for sway,—wi’ the king of Naples
To give him annual tribute, do him homage;
Subject his coronet to his crown, and bend
The dukedom, yet unbow’d,—alas, poor Milan!—
To most ignoble stooping.
135
Mira. O the heavens!
Pro. Mark his condition and the event; then tell me
If this might be a brother.
Mira. I should sin
To think but nobly of my grandmother:
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Good wombs have borne bad sons.
Pro. Now the condition.
This King of Naples, being an enemy
To me inveterate, hearkens my brother’s suit;
Which was, that he, in lieu o’ the premises
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Of homage and I know not how much tribute,
Should presently extirpate me and mine
Out of the dukedom, and confer fair Milan,
With all the honours on my brother: whereon,
A treacherous army levied, one midnight
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Fated to the purpose did Antonio open
The gates of Milan; and, i’ the dead of darkness,
The ministers for the purpose hurried thence
Me and thy crying self.
Mira. Alack, for pity!
155
I, not rememb’ring how I cried out then,
Will cry it o’er again: it is a hint,
That wrings mine eyes to ’t.
Pro. Hear a little further,
And then I’ll bring thee to the present business
160
Which now’s upon us; without the which this story
Were most impertinent.
Mira. Wherefore did they not
That hour destroy us?
Pro. Well demanded, wench:
165
My tale provokes that question. Dear, they durst not,
So dear the love my people bore me, nor set
A mark so bloody on the business; but
With colours fairer painted their foul ends.
In few, they hurried us aboard a bark,
170
Bore us some leagues to sea; where they prepar’d
A rotten carcass of a boat, not rigg’d,
Nor tackle, sail, nor mast; the very rats
Instinctively have quit it: there they hoist us,
To cry to the sea that roar’d to us; to sigh
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To the winds whose pity, sighing back again,
Did us but loving wrong. https://www.bartleby.com/70/1112.html
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Evidence #2: Prospero is very like an alchemist or mystic priest who prospers life. -r.
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Evidence #3-5: Richard A. Wagner, 2009, gives much evidence:
Bacon kept a private notebook titled a Promus of Formularies and Elegancies in which he constantly wrote down his newly invented words, phrases and philosophical thoughts in English, Latin, Greek, French, Italian and Spanish. “Promus” is a Latin word meaning storehouse. Bacon penned more than 2000 entries in his Promus.
By the time the second Shakespeare Folio was published (1626), Bacon’s Shakespeare enterprise had introduced more than 20,000 new words to the English Language. Many of those words, along with specific phrases, came directly from Bacon’s Promus. Here are a few examples of Bacon’s phrases as they appear both in the Promus and in the Shakespearean works:
Promus__________________ “To slay with a leaden sword.” Love’s Labour’s Lost
Act 5, Scene 2_____________ “Wounds like a leaden sword.” Promus___________________ “Things done cannot be undone.”
Macbeth
Act 5, Scene 1______________ “What’s done cannot be undone.” Promus____________________ “To stumble at the threshold.”
3 Henry VI
Act 4, Scene 7_______________“Many men that stumble at the threshold.” Promus____________________ “A Fool’s bolt is soon shot.”
135
Henry V
Act 4, Scene 7______________ “A Fool’s bolt is soon shot.” Promus___________________ “He stumbles who makes too much haste.”
Romeo and Juliet
Act 2, Scene 3______________ “They stumble that run fast.” Promus___________________ “Good wine needs no bush.”
As You Like It
Epilogue__________________ “Good wine needs no bush.” Promus____________________ “An ill wind that bloweth no man to good.”
2 Henry IV
Act 5, Scene 3_______________“The ill wind that blows no man to good.” Promus____________________ “Thought is free.”
Twelfth Night
Act 1, Scene 3_______________ “Thought is free.”
The Tempest
Act 3, Scene 2_______________ “Thought is free.” Promus_____________________ “He who has not patience has nothing.”
Othello
Act 2, Scene 3________________ “How poor they are that have not patience.” Promus______________________ “All that glisters is not gold.”
The Merchant of Venice
Act 2, Scene 7_________________ “All that glisters is not gold.” Promus______________________ “Happy man, happy dole.”
Merry Wives of Windsor
Act 3, Scene 4_________________“Happy man be his dole.”
1 Henry IV
Act 2, Scene 2_________________“Happy man be his dole.”
The Taming of the Shrew
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Act 1, Scene 1_________________ “Happy man be his dole.”
The Winter’s Tale
Act 1, Scene 2__________________“Happy man be his dole.” Promus_______________________ “Seldom cometh the better.”
Richard III
Act 2, Scene 3__________________ “Seldom cometh the better.” Promus________________________ “All is well that ends well.”
All’s Well That Ends Well
Title___________________________“All’s Well That Ends Well.”
There are many more phrases from Bacon’s Promus which are present in the Shakespearean works. To list them all completely would require space sufficient to fill an entire book.
In addition to the many phrases from the Promus, a number of passages from Bacon’s philosophical essays also made their way into the Shakespearean works. The following are just a few examples:
Macbeth, Act V, Scene V, Macbeth: “Tomorrow, and Tomorrow, and Tomorrow...it is a tale told by an idiot, full of sound and fury, signifying nothing.”
Bacon
Religious Meditations
“Of Heresies”: “The Spanish have a proverb, “To-morrow, Tomorrow, and when morrow comes, To-morrow.”
Bacon
Letter to King James: “It is nothing else but words, which rather sound than signify anything.”
Hamlet, Act I, Scene V, Polonius: “From the tables of my memory I’ll wipe away all saws of books.”
Bacon
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Redagutio Philosophiarum: “Tables of the mind differ from the common tables...you will scarcely wipe out the former records unless you shall have inscribed the new.”
Hamlet, Act II, Scene II, Polonius: Though this be madness, yet there is method in it.”
Bacon
Novum Organum: “They were only taking pains to show a kind of method and discretion in their madness.”
Hamlet, Act I, Scene III, Polonius: “To thine own self be true, and it must follow as the night the day, Thou canst not then be false to any man.”
Bacon
Essay “Of Wisdom”: “Be so true to thyself as thou be not false to others.” Richard II, Act II, Scene II, Bolinbroke: “Let him be his own carver.”
Bacon
Advancement of Learning: “You should not be your own carver.”
The Merchant of Venice, Act V, Scene I, Portia: “The moon sleeps with Endymion.”
Bacon
De Augmentis: “The moon of his own accord came to Endymion as he was asleep.”
The historical record clearly shows that, prior to the appearance of all the Shakespearean works, none of Bacon’s unique sentences and phrases were used in any context (public or private) other than in his Promus and his Essay works. The existence of Bacon’s Promus and other notes that tie him to the Shakespearean works are powerful concrete evidence that he was the genius behind the work….
In addition to his duties at Elizabeth’s court, Bacon’s foster father Sir Nicholas Bacon often served as the presiding judge in the criminal courts. In his Apothegms, Bacon recounts a case in which a condemned “malefactor” attempted to talk his way out of an appointment with the gallows. Bacon writes “he [Sir Nicholas] was by one of the malefactors mightily importuned for to save his life; which, when nothing that he said did avail, he at length desired his mercy on account of kindred. ‘Prithee’ said my lord judge, ‘how came that in?’ ‘Why, if it please you, my lord, your name is Bacon, and mine is Hog, and in all ages Hog and Bacon have been so near kindred, that they are not to be separated.’ ‘Ay, but,’ replied judge Bacon, ‘you and I cannot be kindred except you be hanged; for Hog is not Bacon until it is well hanged.” Judge Bacon’s statement was based on the fact that the term “hang hog” in Latin, translates to the word bacon. Naturally, Bacon couldn’t resist using the anecdote in the Shakespearean work--thus, in Merry Wives of Windsor (Act 4, Scene 1) Mrs. Quickly says “Hang hog is Latin for bacon, I warrant you.” at pp. 135-9 of http://thelostsecretofwilliamshakespeare.com/downloads/BACONS_SMOKING_GUNS_THE_HARD_EVIDENCE.pdf
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Evidence #4:
With the exception of King John, “Shakespeare” wrote a successive chain of historical plays about every English monarch from Richard II up to Henry VIII--with one glaring exception. Henry VII, the founder of the Tudor dynasty (following the “War of the Roses”) is missing. Why would the author of the Shakespearean works commit such an egregious omission by neglecting to include a work regarding the reign of such an important King during one of the most crucial periods in English History?
The Stratfordians and the Oxfordians are perfectly content with the gap in the chain of monarchs despite the fact that the Shakespeare histories are obsessed with the theme of succession, most notably when it involves civil war and dynastic change. It’s a matter that has vexed Shakespeare scholars for centuries.
The answer to the riddle is that Shakespeare AKA Bacon decided that a play about Henry VII would be insufficient to properly deal with the complexities of his reign. After all, Henry VI (the longest of all the Shakespeare plays) had required three separate parts. A play about Henry VII would have necessitated an even greater volume of text. So, instead of writing a play about Henry VII, Bacon elected to write an in-depth analysis (around 250 pages) in prose form titled The History of the Reign of King Henry VII. Thus,
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Shakespeare didn’t really leave a gap in the chain after all. He simply used his real name rather than his pseudonym.
It is no coincidence that Bacon’s The History of the Reign of Henry VII picks up precisely where the play Richard III leaves off with Lord Stanley having “pluck’d the crown from Richard’s lifeless head then placing the crown on Henry’s head. Likewise, the play Henry VII picks up (using Bacon’s prose style) exactly where The History of the Reign of King Henry VII leaves off. Shakespeare never broke stride.
http://thelostsecretofwilliamshakespeare.com/downloads/BACONS_SMOKING_GUNS_THE_HARD_EVIDENCE.pdf
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Evidence #5:
The Shakespearean works are ripe with Rosicrucian-Masonic symbolism and metaphors (a Bacon emphasis). Numerous references to the “working tools” of the mason’s trade appear in many of the Shakespearean plays. For example, in Anthony and Cleopatra (Act IV, Scene II) we come across the words “greasy aprons, rules and hammers shall uplift us.” The “greasy aprons” are the lambskin aprons (ritualistically worn by Freemasons) saturated with lanolin. The “rules” are 24 inch rules or gauges. And the “hammers” are the common gavels used by masons.
The significance of the apron, and the fact that it (secretly) identifies its wearer to be a Freemason is alluded to in Act IV, Scene VI of Coriolanus when Menenius proclaims “You have made good work, you and your apron men*—and, again, in Act III, Scene II of Measure for Measure, as the clown remarks “and furred fox on lambskins too, to signify that craft, being richer than innocency, stands for the facing”—and, in Act II, Scene III of Second Part of Henry VI, Peter says “Here, Robin, an if I die, I give thee my apron:—and, Will, thou shalt have my hammer.” In Act II, Scene III of Anthony and Cleopatra, Anthony confesses “I have not kept my square; but that to come shall be done by the rule.” -p. 146
http://thelostsecretofwilliamshakespeare.com/downloads/BACONS_SMOKING_GUNS_THE_HARD_EVIDENCE.pdf
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