Jul 1, 3:51 pm show options Newsgroups: humanities.lit.authors.shakespeare From: gangleri - Find messages by this authorMessage 1 of 2 , Jul 1, 2005View Source
Jul 1, 3:51 pm show options Newsgroups: humanities.lit.authors.shakespeare From: "gangleri" <gunnar.tomas...@...> - Find messages by this author Date: 1 Jul 2005 12:51:57 -0700 Local: Fri,Jul 1 2005 3:51 pm Subject: Re: HLAS: PROOF OF STRAT AUTHORITARIANISM: Ironically, The Author Was A Skeptic. Reply | Reply to Author | Forward | Print | Individual Message | Show original | Remove | Report Abuse
Admit it - and Stratfordian Orthodoxy is destined for the dustbin of
The view of Shakespeare's contemporaries on the subject matter is
reflected in the opening lines of a 2003 paper by Marlovian Peter Bull,
which I came across on the Internet a few days ago:
"One of the most striking differences between the Renaissance worldview
and that of the present day lies in a shift from a richly subjective to
a purely objective conceptualisation of numbers and mathematics. In
the Renaissance numbers were held in a regard so high they were
believed to provide the secret key to the deepest mysteries of God and
man. Pico della Mirandola spoke for his age when he wrote (in John
Dee's inimitable translation):
"By numbers, a way is had, to the searchyng out, and understandyng of
every thyng, hable to be knowen."
Examples of similar numerical enthusiasm could be cited from a great
many of the leading figures of the Renaissance. It is scarcely
surprising therefore that the writers of that age took numerical
symbolism extremely seriously too.
The profound role of numerology in the literature of the period has
been appreciated for many years now. Prominent among those who have
initiated this revelation is Professor Alastair Fowler, and he has
described the scope of the movement thus:
"Numerology ... was widely used by Latin authors, common to the best
medieval and renaissance poets and almost universal in the period 1580
to 1680, when it reached its greatest heights of sophistication."
The work of Fowler and others has revealed that subtle but complex
numerical patterns are to be found in the major works of Marlowe's
immediate peers, including Sidney, Spenser, Chapman and Shakespeare.
It is a fact, however, that this body of numerical criticism has
focussed almost exclusively on poetry and has all but ignored the prime
technique of literary numerology, which is the interplay of words,
names and numbers found in the Cabala.
There are several possible reasons for this, but key among them must be
the fact that Literary Cabala has always been a matter steeped in
secrecy. This reflects the fact that Cabala is a technique originally
devised as a means of transmitting, yet at the same time concealing,
the most sacred and portentous mysteries of the ancient world. This
perennial aura of secrecy has ensured the Cabala's status as something
of a lost art; however it is one that was temporarily rediscovered and
very highly regarded by those, like Pico and Dee, at the cutting edge
of the Renaissance." ('Marlowe and the Cabala - A Cabalistic and
Numerological Subtext to Tamburlaine')
For the past three decades, I have researched the "interplay of words,
names and numbers" in the Saga literature of 13th century Iceland and
the Shakespeare works of Elizabethan and Jacobean England - on the
basis thereof, I am persuaded, for example, that there is more than
meets the eye to "Cosen Bacon", 4669, and "Seriant Harris", 7347, to
whom Edward Oxenford wished to "passe" his "Booke from her Magestie".
"Cosen Bacon" is the sole extant reference by the Earl of Oxford to
Francis Bacon and, by chance or otherwise, Cosen Bacon's Cipher Value
is mirrored in that of Kabbala Denudata, 4669, or 'The Kabbala
As for the Cipher Value of "Seriant Harris" (viewed by modern scholars
as a variation on "Sergeant Harris"), it is mirrored in the Cipher Sum
1000 - 4000 + 10347 = 7347, thereby "identifying" this otherwise
unknown character as Mythical Brownswerd, - 4000, alias "mortal coil"
for Light of the World, 1000, viewed as Spatio-temporal manifestation
of Our Ever-living Poet, 10347, of the Dedication of Shakespeare's
Kabbala Denudata, 4669, is the title of a work published in the second
half of the 17th century, whose title page depicted a young lady
running towards 'Palatium Arcanorum', 9129, with keys to the Old and
New Testaments dangling from her arm.
Who's the young lady?
A possible answer was placed on record in W. J. Craig's 1895 edition of
'The Complete Works of William Shakepspeare' through the introduction
of "Ophelia Daughter to Polonius," 13798 as in 4669 + 9129 = 13798.
Hmmm, Gunnar, it seems someone, whether consciously or unconsciously, has been keeping the relationship of numbers, words and names central to the constructionMessage 1 of 2 , Jul 2, 2005View SourceHmmm, Gunnar, it seems someone, whether consciously or unconsciously,
has been keeping the relationship of numbers, words and names central
to the construction of major military and political sites as
identified by the archaeocryptographers at Grid POINT on the web. The
link between microcosm and macrocosm is very obvious through the
number relationships especially of star and other sky body positions
and locations on the earth sphere. I've been noting the same in sky
magnitude relationships, translating resulting numerical repeating
patterns into music, and would gladly send it to you, but I became
isolated from the national electrical grid on March 21st and so can't
access my own computer at home. Hoping I can hook up at a friend's
house soon. The huge profit makers don't seem too keen on me as I
don't function like a well-ordered citizen is supposed to; too
absent-minded or brain-damaged possibly. :-) Liz