humanities.lit.authors.shakespeare

On Feb 21, 5:52=C2=A0am, Christian Lanciai wrote:
> Lyra skrev:
>
>
>
>
>
> > I found this while looking for a link from Bacon
> > to Tetbury, on the Avon,
> > and it's an interesting page.
>
> > (quote, excerpts)
>
> > Venus and Adonis at the White Hart Inn, St. Albans
> > by Francis Carr
>
> > This important national treasure is now - for the first time - on view
> > to the public. Here is the only contemporary painting in the world of
> > a SHAKESPEARE work. The message of this mural is unmistakable.
>
> > The painting dates from a few years after the publication of Venus and
> > Adonis in 1593. With its clear Rosicrucian symbolism, it constitutes
> > yet another indication that the author of the Shakespeare plays was
> > Francis Bacon, who lived only two miles away at Gorhambury.
>
> > Experts from the Warburg Institute have concluded that the subject is
> > definitely the death scene from Venus and Adonis. The giant painting
> > may cover all three walls of this room. It must have been commissioned
> > for a special purpose, probably for meetings of a Rosicrucian lodge.
>
> > Dr. Clive Rouse, a leading art expert and historian, and a specialist
> > in panel paintings, says that this large painting "is a major national
> > treasure. It is priceless. I cannot overestimate the importance of
> > this startling find. There is no Elizabethan wall painting of better
> > artistic quality outside the great houses like Hampton Court."
>
> > Already visible are six details which prove that Venus and Adonis --
> > and all the other works in the Shakespeare First Folio -- are the
> > creation of Francis Bacon.
>
> > 1. Adonis is a key figure in Rosicrucian doctrine, as he represents
> > the Sun, while the Boar represents Winter. Bacon was the leader of the
> > Rosicrucian movement in England at this time.
>
> > 2. Next to Adonis is the Boar. This figure bears a distinct
> > resemblance to the boar depicted in Bacon's crest.
>
> > Boar
>
> > 3. Above the boar a large house can be seen. This could represent a
> > symbolic Masonic house and temple, as the two towers and the arch
> > appear in Masonic books of the seventeenth century. The building
> > contains some features of Bacon's house, at Gorhambury, only two miles
> > away. At that time the White Hart Inn was on the border of Bacon's
> > estate.
>
> > House
>
> > 4. The Hill just to the right of the house could be a representation
> > of Bacon's Mount, a mound just a mile away in Prae Wood, which Bacon
> > used for astronomical observation.
>
> > 5. The Rose, which in the ancient legend grew from the dead Adonis,
> > became the reborn man, with a new personality or name. A red rose can
> > be seen in the mouth of one of the horses in this mural.
>
> > Rose
>
> > 6. In the foreground of this painting can be seen the stump of a tree,
> > with a clearly visible opening at the base. In Act One, Scene Two of
> > The Tempest, Prospero tells Ariel that his mother, Sycorax,
>
> > =C2=A0 =C2=A0 did confine thee into a cloven pine
> > =C2=A0 =C2=A0 It was mine art that made gape
> > =C2=A0 =C2=A0 The pine and let thee out.
>
> > We have here in one symbol and one sentence the whole canon of the
> > Shakespeare plays and poems. There is not one detail in this painting
> > which refers to the actor of Stratford-on-Avon.
>
> > Quotations from recently published books:
>
> > =C2=A0 =C2=A0 Hugh Trevor-Roper: "Shakespeare is unidentifiable." 1987
>
> > =C2=A0 =C2=A0 Germaine Greer: "Shakespeare is anonymous." 1986
>
> > =C2=A0 =C2=A0 Rosalind Miles: "Shakespeare is invisible." 1986
>
> > =C2=A0 =C2=A0 Peter Porter: "Shakespeare is almost invisible." 1981
>
> > =C2=A0 =C2=A0 Michael Hardwick: "There is no reference to Stratford in
> > Shakespeare's plays." 1968
>
> > =C2=A0 =C2=A0 O Hood Philips: "No record of Shakespeare's marriage has b=
een
> > found." 1972
>
> > =C2=A0 =C2=A0 Maria Rosignoli: "There is no name on Shakespeare's tombst=
one."
> > 1968
>
> > =C2=A0 =C2=A0 Peter Brook: "Shakespeare is invisible. So, if we are luck=
y, we
> > may for a few moments, even if Shakespeare wasn't Shakespeare, feel
> > close to him and have the impression of knowing him." 1990
>
> > =C2=A0 =C2=A0 Umberto Eco: "Bacon is clearly the author of the plays of
> > Shakespeare." 1989.
>
> > =C2=A0 =C2=A0 Colin Wilson: "Whoever wrote the plays and sonnets, it was=
not
> > William Shakespeare." 1987
>
> > Also published:
>
> > The Shakespeare Controversy
>
> > Comments on Shakespeare and Stratford in recently published books.
> > 1945-1990. =EF=BF=BD5
>
> > Quotations from 280 books, most of them published since 1960.
>
> > Shakespeare Authorship Information Centre
> > 9 Clermont Court, Clermont Road, Brighton BN1 6SS
>
> >http://www.sirbacon.org/links/carrmural.html
>
> Since it is brought up in my latest post, I might as well include it
> here also, keeping up this thread on the St. Albans mystery:
>
> From the preface, i.e. "To the Great Variety of readers", by John
> Heminge and Henry Condell:
>
> "...the fate of all books depends upon your capacities: and not of
> your heads alone, but of your purses. Well! it is now public, & you
> will stand for the privileges we know: to read, and censure. Do so,
> but buy it first. That doth best commend a Book, the Stationer says.
> Then, how odd soever your brains be, or your wisdoms, make your
> licence the same, and spare not. Judge your six-pence' worth, your
> shillings worth, your five shillings worth at a time, or higher, so
> you rise to the just rates, and welcome. But, whatever you do, Buy."
>
> This can't be misunderstood. It is clearcut salesmanship and marketing
> and nothing else, and their message is tuned into by several of the
> other contributions in the preface. To this comes the odd
> contributions by Hugh Holland, Leonard Digges and John Mabbe from the
> Oxford and Cambridge universities. What was their connection with
> Shakspere, who never went to a university? They had none and were
> obviously hired to add to the attraction and marketing of the book,
> like a kind of university endorsement of the publication. Ben Jonson's
> famous poem chimes in with the mute "swan of Avon" in the same
> context, having obviously been asked to add to the marketing of the
> book, which would have been impossible to sell had 'Shakespeare' been
> defined as Marlowe, publicly dead and buried and denounced as a
> "coining homosexual atheist", an impossible brand to carry around in
> that society if you were alive, or as Bacon, publicly dishonoured as
> completely fallen from grace after having been the King's leading
> statesman. The unclear not to say fishy circumstances around Marlowe's
> supposed death including an obvious motive to clear out makes the
> possibility that he continued underground as poet and governmental
> agent impossible to ignore. He obviously worked with Anthony Bacon
> (homosexual) in France, whose business after his death was continued
> by his brother Francis. In St. Albans we have the mystical Bacon
> connection to Shakespeare in the strange depicted scene from "Venus
> and Adonis" 1593. Let's not forget the "Promus". At the time of the
> First Folio, Ben Jonson was closely connected with Francis Bacon, who
> was then in total public disgrace. The Bacon-Shakespeare connection
> just can't be ignored. "Shakespeare" obviously originated from the
> Sidney-Walsingham-Oxford-Bacon-Derby family with godfathers like Sir
> Fulke Greville, Giordano Bruno, Sir Walter Raleigh, Northumberland,
> Harriot and other free-thinkers. Marlowe belonged to that circle.
> There is no trace of any Will Shakspere connections with that circle.
>
> In brief, there is a Shakespeare mystery. To be a one-sided
> stratfordian, like mad Jim KQKnave, explaining everything by the
> materialistic details of Will Shakspere of Stratford, is to ignore
> that mystery. I pity those who can't see it.
>
> C(hris)

MM:
I replied to this frivolity in the thread, "Will Shakespeare was a
fraud." You're too much, Chris.

Michael Martin