Bacon is Shake-Speare. Durning-Lawrence Edwin

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      "Anyhow, it is pretty safe to say that if a Referendum of the trade was taken on the question whether the two illustrations shown above represent the foreparts of the same garments, the polling would give an unanimous vote in the negative."

      "It is outside the province of a trade journal to dogmatise on such a subject; but when such a glaring incongruity as these illustrations show is brought into court, it is only natural that the tailor should have something to say; or, at any rate, to think about."

      This one simple fact which can neither be disputed nor explained away, viz., that the "Figure" put upon the title-page of the First Folio of the Plays in 1623 to represent Shakespeare, is a doubly left-armed and stuffed dummy, surmounted by a ridiculous putty-faced mask, disposes once and for all of any idea that the mighty Plays were written by the illiterate clown of Stratford-upon-Avon.

      "He hath hit his face"

      It is thought that hit means hid as in Chaucer's Squiere's Tale, line 512 etc.

      "Right as a serpent hit him under floures

      Til he may seen his tyme for to byte"

      If indeed "hit" be intended to be read as "hid" then these ten lines are no longer the cryptic puzzle which they have hitherto been considered to be, but in conjunction with the portrait, they clearly reveal the true facts, that the real author is writing left-handedly, that means secretly, in shadow, with his face hidden behind a mask or pseudonym.

      We should also notice "out-doo" is spelled with a hyphen. In the language of to-day and still more in that of the time of Shakespeare all, or nearly all, words beginning with out may be read reversed, out-bar is bar out, out-bud is bud out, out-crop is crop out, out-fit is fit out, and so on through the alphabet.

      If therefore we may read "out-doo the life" as "doo out the life" meaning "shut out the real face of the living man" we perceive that here also we are told "that the real face is hidden."

      The description, with the head line "To the Reader" and the signature "B.I.," forms twelve lines, the words of which can be turned into numerous significant anagrams, etc., to which, however, no allusion is made in the present work. But our readers will find that if all the letters are counted (the two v.v.'s in line nine being counted as four letters) they will amount to the number 287. In subsequent chapters a good deal is said about this number, but here we only desire to say that we are "informed" that the "Great Author" intended to reveal himself 287 years after 1623, the date when the First Folio was published, that is in the present year, 1910, when very numerous tongues will be loosened.

      Examine once more the original Stratford Bust, Plate 5, Page 14, and the present Stratford Bust, Plate 6, Page 15, with the large pen in the right hand.

      If the Stratford actor were indeed the author of the plays it was most appropriate that he should have a pen in his hand. But in the original monument as shewn in Plate 3, Page 8, the figure hugs a sack of wool or a pocket of hops or may be a cushion. For about 120 years, this continued to be the Stratford effigy and shewed nothing that could in any way connect the man portrayed, with literary work. I believe that this was not accidental. I think that everybody in Stratford must have known that William "Sha_c_kspeare" could not write so much as his own name, for I assert that we possess nothing which can by any reasonable possibility be deemed to be his signature.

      [Illustration: Decorative Chapter Heading]

      CHAPTER III

      The so-called "Signatures."

      In Plate 14, Page 36, are shewn the five so-called signatures. These five being the only pieces of writing in the world that can, even by the most ardent Stratfordians, be supposed to have been written by Shakspeare's pen; let us consider them carefully. The Will commences "In the name of God Amen I Willum Shackspeare." It is written upon three sheets of paper and each sheet bears a supposed signature. The Will is dated in Latin "Vicesimo quinto die [Januarij] Mtij Anno Regni Dni nri Jacobi, nunc R Anglie, &c. decimo quarto & Scotie xlix° annoq Dni 1616", or shortly in English 25th March 1616.

      Shakspeare died 23rd April 1616 just four weeks after publishing his will.

      I say after "PUBLISHING his Will" advisedly, for such is the attestation, viz., "Witnes to the publyshing hereof,"

"Fra: CollynsJulius ShaweJohn RobinsonHamnet SadlerRobert Whattcott"

      Nothing is said about the witnessing of the signing hereof. The Will might therefore have been, and I myself am perfectly certain that it was, marked with the name of William Shakspeare by the Solicitor, Fra (ncis) Collyns, who wrote the body of the Will.

      [Illustration: Plate XIV. The Five so-called "Shakespeare Signatures."

      THE FIVE SO-CALLED "SHAKESPEARE SIGNATURES."]

      He also wrote the names of the other witnesses, which are all in the same hand-writing as the Will; shewing that Shakspeare's witnesses were also unable to write their names.

      This fact, that Shakspeare's name is written by the solicitor, is conclusively proved by the recent article of Magdalene Thumm-Kintzel in the Leipzig magazine, Der Menschenkenner, which was published in January 1909.

      In this publication, photo reproductions of certain letters in the body of the Will, and in the so-called Shakspeare signatures are placed side by side, and the evidence is irresistible that they are written by the same hand. Moreover when we remember that the Will commences "I Willim Sha_c_kspeare" with a "c" between the "a" and "k," the idea that Shakspeare himself wrote his own Will cannot be deemed worthy of serious consideration. The whole Will is in fact in the handwriting of Francis Collyns, the Warwick solicitor, who added the attestation clause.

      I myself was sure that the solicitor had added the so-called signatures, when, many years ago, I examined under the strongest magnifying glasses the Will at Somerset House.

      Look first at the upper writings and never again call them "signatures." The top one is on the first page of the Will, the second on the second page, the third on the last page of the Will.

      The original of the top one has been very much damaged but the "W" remains quite clear. Look first only at the "W's". If the writings were signatures what could induce a man when signing his last Will to make each "W" as different from the others as possible, and why is the second Christian name written Willm?

      Compare also the second and third "Shakspeare" and note that every letter is formed in a different manner. Compare the two "S's", next compare the two "h's", the "h" of the second begins at the bottom, the "h" of the third begins at the top, the same applies to the next letter the "a", so also with respect to the "k's "; how widely different these are.

      Plate 14 shews at the bottom two other names also. These are taken, the one on the left from a deed of purchase of a dwelling house in Blackfriars dated March 10th 1612-13 (now in the City Library of the Corporation of London); the other on the right is from a mortgage of the same property executed on the following day, viz: March 11th 1612-13, which is now in the British Museum.

      Neither of these documents states that it was "signed" but only says that it was "sealed," and it was at that date in no way necessary that any signatures should be written over the seals, but the clerks might and evidently did, place upon these deeds an abbreviated name of William Shakspeare over the seal on each document. In the case of the other two parties to the documents, the signatures are most beautifully written and are almost absolutely identical in the two deeds.

      Look at these two СКАЧАТЬ