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Numerology in Shakespeare

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  • Gunnar Tómasson
    Jul 1, 3:51 pm show options Newsgroups: humanities.lit.authors.shakespeare From: gangleri - Find messages by this author
    Message 1 of 2 , Jul 1, 2005
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      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.
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      The idea of numerology being an integral aspect of the Shakespeare Opus
      is  anathema to Stratfordian Orthodoxy for a very good reason:

      Admit it - and Stratfordian Orthodoxy is destined for the dustbin of
      history.

      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
      Revealed'.

      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
      Sonnets.

      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.

    • Liz Forrest
      Hmmm, Gunnar, it seems someone, whether consciously or unconsciously, has been keeping the relationship of numbers, words and names central to the construction
      Message 2 of 2 , Jul 2, 2005
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        Hmmm, 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
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