Esoteric Shakespeare (Part 1)

Shakespeare

In 1605, a man wandered the streets of Toledo, Spain. He searched for a rumored manuscript in the city which once had seen a fever of translation and scholarship. By now though, a fear clutched at the souls of the Toledans: spies for the Holy Inquisition might be anywhere and anyone. Books were being burnt and the old Arabic documents now had little value, except to be converted into rags and sold. The man noticed these rag sellers and took a chance on purchasing an old document written in a language he did not understand. He next found an aged Moor who agreed to decipher the text for the man. Translating from the Arabic into Castilian, it was realized this was in fact the rumored manuscript the man had sought, written by one Cide Hamete Benengeli, Arabic historian. And thus was the history of Don Quixote rescued from oblivion.

Guiot de Provence and a secret manuscript seen by him appears to be a major root, if not the key root, for later Grail stories. The most heterodox of these stories is the German Parsifal, but it too shares commonalities with British, Celtic, Spanish, and other cycles. Guiot de Provence was “a man of curious learning.” It “is supposed that he was a student at Toledo [Spain] in those days when the relations between Southern France and Northern Spain may be described as intimate.” Guiot acquired a source written in the Arabic tongue. The original recipient had been Flegitanis, the Jew of Toledo, who may have divined more through his devout astronomical studies. The manuscript had been found “lying neglected and forgotten among the undemonstrable archives of Toledo.” (Background: JFK, The Wounded King, Ersjdamoo’s Blog entry of January 31, 2014.)

Also in Spain, Count Jan Potocki served as an officer in the French army at the siege of Saragossa, circa 1809. Late in the siege, many of the houses had been abandoned. Entering one such house, Potocki saw it appeared that everything of value had been removed. But then several handwritten notebooks caught his eye. The contents were in Spanish, a language Potocki barely understood. From what he could discern however, Potocki thought the notebooks might be interesting. And so he took possession of them. Due to the changing fortunes of war, Potocki and his notebooks were captured by the Spanish. When a Spanish captain glanced through the writings, he became extremely grateful to Potocki for having preserved what turned out to be the history of the captain’s ancestors. A friendship between the two officers led to the Spanish captain translating the contents of the notebooks for Count Jan Potocki. He wrote down what the Spanish captain translated. This was later published as The Manuscript Found in Saragossa.

And so it was that I, residing in a small cosmopolitan city in Illinois, chanced to come into possession of a damaged copy of a 19th-century manuscript. I soon realized its contents concerned the secret activities of the legendary Spear Shaker.

Francis Bacon, while studying law at Gray’s Inn, helped found a secret society: “The Honourable Order of the Knights of the Helmet”, dedicated to Pallas Athena. This ancient goddess was known by the Greeks as the “Spear-Shaker.” Very few nowadays are aware of how Francis Bacon played a vital part in the founding of Jamestown, the first permanent English settlement in the Americas. It was Bacon who drew up the papers for the king’s signature granting the charter for the Virginia Company of London. The state seal of Virginia does not show Queen Elizabeth I, the so-called “Virgin Queen”, but instead shows Pallas Athena, the “Spear Shaker.” Francis Bacon was also a shareholder in the Virginia Company. [1]

But the damaged copy found by me in the small cosmopolitan city did not deal so much with Francis Bacon as it did with an esoteric explanation of the plays and poems of the Spear Shaker. A New Study of Shakespeare, by Francis C. Wigston, connects the plays and poems with the very origins of drama itself, as well as with the ancient philosophy of Plato.

The neglected Sonnets are creative principles connected with the plays. For example, the Sonnets begin with the simile of marriage for the sake of offspring:

From fairest creatures we desire increase,
That thereby beauty’s Rose might never die,
But as the riper should by time decease,
His tender heir might bear his memory… (Sonnet I)

And elsewhere…

… How much more praise deserved thy beauty’s use,
If thou couldst answer, “This fair child of mine
Shall sum my count, and make my old excuse,”
Proving his beauty by succession thine!
     This were to be made new when thou art old,
     And see thy blood warm when thou feel’st it cold. (Sonnet II)

On the surface the meaning is an urge to procreate oneself via having children. The deeper esoteric meaning comes from Plato’s Symposium, where Diotima is recalled:

Says Socrates, “I would rehearse a tale of love which I heard from Diotima of Mantineia, a woman wise in this and in many other kinds of knowledge, who in the days of old, when the Athenians offered sacrifice before the coming of the plague, delayed the disease ten years. She was my instructress in the art of love, and I shall repeat to you what she said to me…”

“‘For love, Socrates, is not, as you imagine, the love of the beautiful only.’ ‘What then?’ ‘The love of generation and of birth in beauty.’ ‘Yes,’ I said. ‘Yes, indeed,’ she replied. ‘But why of generation?’ ‘Because to the mortal creature, generation is a sort of eternity and immortality,’ she replied; ‘and if, as has been already admitted, love is of the everlasting possession of the good, all men will necessarily desire immortality together with good: Wherefore love is of immortality.'” [2]

The Sonnets above quoted contain not just the exoteric meaning of human generation but a deeper meaning of the generation of beauty. The “generated beauty” meant is the plays, “This fair child of mine.” Unfortunately, many critics refuse to see in the Sonnets anything more than a mundane marriage of some unknown friend of the Spear Shaker. Yet his art is as living as that of Homer or Virgil. It is not, as some critics presume, mere plays devoid of profound purport. A great hidden unity runs throughout the entire works of the Spear Shaker in connection with classical, and particularly the Platonic philosophy. [3]

——- Sources ——-
[1] Melchizedek Communique, by Brian Redman. 2010. Available from Lulu.com
[2] Symposium, by Plato. http://classics.mit.edu/Plato/symposium.html
[3] A New Study Of Shakespeare, by William Francis C. Wigston

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About ersjdamoo

Editor of Conspiracy Nation, later renamed Melchizedek Communique. Close associate of the late Sherman H. Skolnick. Jack of all trades, master of none. Sagittarius, with Sagittarius rising. I'm not a bum, I'm a philosopher.
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One Response to Esoteric Shakespeare (Part 1)

  1. Pingback: Esoteric Shakespeare (Part 2) | Ersjdamoo's Blog

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