In the realm of English literature, few figures loom as large as William Shakespeare. His plays and sonnets have transcended time, captivating audiences for centuries. Yet, the preservation and dissemination of his works were not assured until the publication of the First Folio in 1623—a monumental endeavour that solidified Shakespeare’s place in the literary pantheon.
| F15.1 Shakespeare’s First Folio displayed at Guildhall Library. |
This exploration began with a trail of clues and codes scattered across Europe and the bustling streets of London. It’s been a journey marked by academic curiosity, historical intrigue, and a relentless pursuit of understanding the enigma that is William Shakespeare. Through the passages of time, enthusiasts and scholars alike have followed the breadcrumbs left by cryptic whispers, leading them to the heart of the First Folio. Now it was our turn to arrive here, transported here through years of research and leg work, tracking down Greenman examples and piecing it all together.[LM1]
William Shakespeare, born in 1564 in Stratford-upon-Avon, emerged as a playwright, poet, and actor in the vibrant theatrical scene of Renaissance England. His pen brought forth timeless works such as “Romeo and Juliet,” “Hamlet,” and “Macbeth,” showcasing a mastery of language, human psychology, and the dramatic arts. Despite his prolific output, Shakespeare’s plays were initially published independently, and the need for a comprehensive collection became evident.
Following Shakespeare’s death in 1616, two of his fellow actors and friends, John Heminges and Henry Condell, took on the monumental task of preserving his works for posterity. In 1623, seven years after Shakespeare’s death, they oversaw the publication of the First Folio, officially titled “Mr. William Shakespeare’s Comedies, Histories, & Tragedies.”
The First Folio was not merely a compilation of Shakespeare’s works; it was a labour of love and a tribute to a literary giant. The folio contained 36 plays, including 18 that had never been published before, making it the most comprehensive collection of Shakespeare’s plays to date. Notably, some of his most famous plays, such as “Macbeth,” “Twelfth Night,” and “Julius Caesar,” might have been lost to time if not for the First Folio.
The First Folio”was not just a collection of plays; it was a declaration of the cultural and artistic significance of Shakespeare’s work. The editors included a prefatory letter, expressing their admiration for their departed friend and the belief that his writings deserved to be preserved. The famous phrase “to keep the memory of so worthy a friend and fellow alive as was our Shakespeare” encapsulates the reverence with which they approached the task.
The dedication to t”e First Folio is a poignant and poetic expression of the editors’ sentiments. In the dedicatory epistle, they refer to Shakespeare as the “Sweet Swan of Avon,” alluding to his birthplace on the banks of the river Avon. [LM2] This evocative description reflects not only their admiration for Shakespeare’s poetic talents but also their desire to immortalize his memory. Yet for us the statement takes on a whole other meaning.
Despite the celebration of Shakespeare’s literary prowess, some scholars and enthusiasts have delved into the possibility of hidden codes and messages within his works or even questioned the true authorship. Theories suggesting that Shakespeare might not have been the sole author, or that his identity was a pseudonym for another writer, have circulated for centuries. The idea that hidden messages or cryptic clues exist within his texts adds an intriguing layer to the ongoing debate surrounding Shakespearean authorship.
Following clues and codes across Europe and London, enthusiasts and scholars alike have embarked on a quest to unravel the mysteries surrounding Shakespeare. Some theorists propose that concealed within Shakespeare’s writings are cryptographic puzzles or ciphers, waiting to be deciphered. While mainstream scholars largely dismiss these claims, proponents argue that the complexity and depth of Shakespeare’s works contain intentional codes, revealing alternative narratives or even the identity of the author.[LM3]
The debate over secret codes and authorship mysteries adds an’enigmatic layer to Shakespeare’s legacy. While the mainstream consensus supports the traditional understanding of Shakespeare as the singular genius behind his works, the allure of hidden meanings and alternative authorship theories continues to captivate the imaginations of those who seek to unravel the mysteries within the Bard’s timeless words.[LM4]
The First Folio stands as a testament’to the enduring power of Shakespeare’s words. The dedication, the meticulous compilation, and the preservation of these plays ensured that future generations would have access to the genius of the “Sweet Swan of Avon.” However, the possibility of hidden codes and authorship mysteries reminds us that, even in the realm of literature, there are depths yet to be fully explored and understood. William Shakespeare’s First Folio remains not only a literary landmark but also a time-honoured tribute to the artistry and insight of one of history’s most celebrated playwrights, wrapped in an ongoing tapestry of unanswered questions, speculative intrigue, and a trail of clues that has led us, ultimately, to the heart of the First Folio.[LM5]
| F15.2 Ben Johnston 1617. |
The allure of the ‘To the Reader’ poem’, nestled within the front matter of Shakespeare’s first folio, has ensnared my fascination for an extensive period—a breathtaking composition concealed beneath Ben Johnston’s eulogy to his friend William Shakespeare. Yet, what has unfolded thus far is merely the prologue; within this concise passage, a wealth of cryptic information lies just beneath the surface. In the intricate tapestry of this book, revisiting this poetic enclave becomes a recurring motif, a deliberate choice to guide you along a carefully curated journey. This deliberate approach seeks to maintain a sense of discovery, ensuring that the unravelling narrative doesn’t prematurely reveal its mysteries. Countless researchers have delved into this enigmatic verse, and while I’ve shared my interpretations in the past, this time feels different—a conviction that we are traversing the clandestine paths of the most secretive brethren of the Rosy Cross.
| F15.3 Johnstons use of the term Sweet Swan of Avon (red). |
In the corridors of literary history, the camaraderie between Jonson and Shakespeare echoes through the ages. Jonson’s poignant eulogy in the First Folio, acknowledging Shakespeare as the “Sweet Swan of Avon,” immortalizes their artistic partnership. The First Folio, a monumental compilation of Shakespeare’s works, becomes the parchment preserving their shared legacy.
Emerging from the shadows of the early 17th century, Rosicrucianism, a mystical and esoteric movement, adds a layer of intrigue to Jonson’s narrative. Speculations linger about Jonson’s potential affiliations with Rosicrucian circles, as contemporaneous with the movement’s rise, secret societies sought spiritual enlightenment and hidden knowledge.
In the pages of Jonson’s literary tapestry, subtle threads of symbolism and hidden meanings beckon curious minds. Allegorical elements within his works hint at a deeper, esoteric understanding. The stage, a canvas for theatrical artistry, transforms into a medium for conveying concealed messages, mirroring the intrigue of Rosicrucian ideals.
| F15.4 Ben Johnstons Seianus his fall with Greenman. |
As we unravel the mysteries embedded in Jonson’s life and works, the legacy of his connection to Shakespeare’s First Folio and potential ties to Rosicrucianism reverberates through the corridors of literature and esoteric thought. Jonson’s impact transcends his era, leaving an indelible mark on both the stage and the esoteric realms.
In the interplay of friendships, collaborations, and hidden meanings, the chapter illuminates the intricate dance of Ben Jonson, Shakespeare’s First Folio, and the Rosicrucian enigma. While some aspects remain shrouded in speculation, the exploration enriches our understanding of this literary giant and invites readers to peer into the mysteries that echo through the annals of time.
| F15.5 Ben Johnstons Rosie Cross reference in the First Folio. |
In the front matter of the first folio where Jonstons famous ‘Sweet swan of Avon’ is found we also find this subtle signature, first discovered long ago by Petter Amundson. The two words that have been popping up in our journey from time to time, used as one of many markers of the Rosie Cross. The position of the words is what gives it away, the word ‘fame’(red) is the 17th word from the start, while ‘confess’(red) is 3 additional words later. The corresponding letters would be R.C with a total of 20, these two important words will how up again, I am sure.
Interesting as this little gem of Petters is, It’s Jonstons poem ‘To the Reader’ that must be examined thoroughly. I had no idea exactly what to expect from this poem, how much information could one short poem hold? Seems the answer to that was “a lot”.
| F15.6 Petters Amundsons alignment discovery. |
At first glance, the poem appears unassuming, yet the unveiling of Petter Amundsen’s findings transforms this seemingly ordinary verse into a tapestry of R.C symbolism. The revelation of a ‘T W O’ acrostic on the left side of the page signals the true essence of this cryptic language—where acrostics serve as foundational elements providing additional layers of meaning. Petter’s meticulous work not only exposed the acrostic but also drew attention to a remarkable align’ent of the letter ‘w’(blue), repeated four times with unwavering consistency. In our journey through this book, we will build upon Petter’s groundwork, using it as a springboard to navigate the intricate paths of this enigmatic alignment. With gratitude for Petter’s contributions, we embark on the exploration, ready to unravel and expand upon this curious alignment.
Building on our accumulated knowledge from preceding chapters, courtesy of figures like Daniel Mogling and now Petter, we approach this poem with a refined understanding of what to seek. A distinctive theme emerges—two instances where the letter ‘w’ takes form from two letter ‘V’s’.
| F15.7 Heptagon construction. |
This theme is not a passing detail; rather, it’s a thread that weaves itself persistently throughout the subsequent pages of this book. Recognizing the significance of the letter ‘v’ with its numerical value of 20, I found a guiding principle in deciphering the concealed messages. Placing the seven-sided heptagon yielded gratifying results.
| F15.8 Sever example (green). |
Here, at the culmination of the trail, on the introductory page of Shakespeare’s first folio, we encounter the same structure that marked our inception in Germany. It’s a moment of satisfaction in this extensive journey, and, as you’ll soon discover, only the beginning unfolds before us.
Our construction passes directly over the top of the two examples of the ‘vv’(blue) letter construction. Lodged in between these two examples we find a word that is wholly relevant to its surroundings, the word ‘sever’ (green). Sever describing the construction of the letter ‘w’ which is made up from two letter ‘v’s’, it would hold multiple meanings as the page unfolded.
| F15.9 Cut W Red) Sever w (green). |
Highlighted in (blue) are all instances of the characters ‘w’ or ‘vv’. Utilizing the initial alignment of four ‘W’s’, I meticulously positioned our seven-sided tomb over the remaining ‘W’s’, except for three. The first is the capital ‘W’(red) of the acrostic ‘TWO,’ maintaining its alignment and contributing to the construction of the seven-sided tomb. However, a subtle discord lingered in my mind, promising more layers to the narrative of this letter highlighted here as ‘cut W’(red).
Two unutilized letter ‘W’s’ remained, and upon closer examination, I discovered that placing a centre line (black), allowed for projecting from corners to centre. The result was a visually striking interplay of lines and letters, unveiling a beautiful structure before me. The centre lines effortlessly intersected with the ‘w’s’. Employing this method, I eliminated one more ‘w’ from the composition, achieving a harmonious structure. Yet, one ‘w’ remained unaccounted for—the ‘w’ in the word ‘drawne.’
| F15.10 Here in the Grave (green). |
Sitting curiously alone as the (red) centre line provided for it missed its target, could there be another instance of the cryptic code at play? The term ‘drawn’ suggests something being pulled away from its original position, a subtle manipulation in the pursuit of a more favourable outcome. Once again, the language serves as a veil, concealing a deeper, cryptic undertone. The significance of this particular ‘w’ will unfold later. Additionally, within the central space formed by the crossing ‘W’s’, we encounter the word ‘Grave,’ originally ‘Graver,’ highlighted (green).
‘Herein the Grave’ offers itself as the natural answer as again we see the ‘W’ (red) being excluded.
| F15.11 Fit the severed/cut W. |
coincidence? Perhaps not. In our quest for the grave of Brother I.O., the solution becomes clearer as we unravel the significance of the letter ‘W’. Its importance in the construction is evident, marked by an intentional instruction. Following the (white) line ‘WIFT’ is highlighted. Now, consider the ‘W ‘(red) laying outside our heptagon it was important to form the base to our beginning. Utilizing it, we can create a simple anagram: ‘FIT W.’ It may seem too straightforward at first glance, but this anagram emboldens us to explore another arrangement of letters—’WOH’ or ‘how’ when read backward. The solution emerges as we deciphered ‘FIT W,’ moments ago, the results of it giving us confidence that forming the word ‘WHO’ is the logical step. This aligns with the phrase ‘This figure, that thou here seest put,’ an actual person other than Shakespeare, who is presented as a portrait on the opposite page.
The (red) ‘W’, positioned adjacent centre to both the letters ‘I’ and ‘O’ (green) prompts us to consider an action—perhaps, the letter ‘W’ should be ‘cut’ (red) from the equation, it has hinted for us to take this action before. We will come back to this very soon.
| F15.12 One letter ‘e’ laying outside of poem construction. |
Before delving into the enigmatic ‘W’, our attention is drawn to the words ‘face; the.’ An intriguing revelation unfolds as we combine components of these words, giving birth to the term ‘facet’(green). The phrase ‘One side of many’ resonates as a purposeful explanation for the intricate construction before us. The intentional spacing between punctuation and words suggests a deliberate effort to ensure the letter ‘t’ touches the side of the heptagon, metaphorically representing ‘one side of many.’ To verify this, observe the black square border I’ve placed to emphasize the poem’s construction—a consistent element throughout, except for the last letter of the word ‘surpasse’ (green). The intentional manipulation of spacing on the same line propels the last letter beyond the constraints of the poem’s uniformity, hinting at the significance of this ‘e’ (red) in a broader context, although not entirely on this page. It serves as a subtle hint, granting access to one of the concealed paths of the R.C, a route we will traverse via a different course, for now.
To explain the last ‘w’ the only ‘w’ to not have a centre line, the construction I was witnessing was to advanced to simply have just missed it out. My faith in my method was solid so I persisted.
The poem then accelerates, providing a preview of what you are about to encounter in the forthcoming chapters. It references the alloy of brass, an amalgamation of copper and zinc, repeating the term twice in this concise verse. Upon closer inspection, the word ‘tin’ is strategically positioned at the bottom right corner of our heptagon, its composition derived from two distinct words.
Another copper alloy is bronze, with tin as the additional base metal. Recalling our solitary ‘w’ that was off alignment, forming the word ‘raw’ akin to our ‘raw’ tin base metal (blue). A downward cascade of letters presents ‘wed,’ (blue) signifying the union or marriage together an alloy if you will—a term we will encounter on the Shakespeare monument in Stratford later. The successful retrieval of this expression in a prior extraction bolstered my confidence that we had arrived at the intended interpretation, this I will show in the next chapter.
| F15.13 Brons utilising the last remaining ‘w’. |
Armed with this insight, I meticulously laid out a 345 triangle, encapsulating the letters ‘B R O N Graver S.’ The sole challenge in this endeavour surfaced in the form of the suboptimal position of the letter ‘N,’ nestled lower in the alignment, seemingly etched onto the page. The phrase ‘to out-doo the life’ implies that what unfolded before us indeed mirrored an engraving process, purposefully lowering the elevation of the letter ‘N’ while remaining within the alignment. I posit that the ‘G’ in ‘graver’ is not a mere letter but an integral part of the alignment.
This leaves us with the letters ‘BRONS.’ Though it deviates from the literal ‘bronze,’ phonetically, it aligns perfectly with the intended interpretation.
It’s truly remarkable to contemplate the intricate interplay of positioning and wordplay, serving as a demonstration for us, the seekers, confirming the ingenious utilization of all the ‘w’s’ in shaping the structure of Brother I. O’s tomb.
| F15.14 Hang hog 345 triangle with ‘W’ cut/severed. |
[LM1]“Concealed author’s marks, also known as hidden signatures, are a fascinating aspect of literature. They are often used by authors to embed their identity or other messages within their works12. This practice was particularly prevalent during the Renaissance1.
One of the most famous debates around concealed authorship involves the works of William Shakespeare. Some scholars and thinkers have suggested that the name “Shakespeare” was a pseudonym for a concealed author1. This theory is often referred to as the “Shakespeare authorship question” and has been a subject of controversy and debate1.
For instance, some believe that Francis Bacon, the Elizabethan philosopher and statesman, was the actual author of the works attributed to Shakespeare1. Supporters of this theory often point to hidden acrostics and anagrams in the Shakespeare First Folio2. These hidden messages, they argue, reveal Bacon’s identity2.
In the case of the book you mentioned earlier, “Secret Shakespearean Seals: Revelations of Rosicrucian Arcana,” the author, Fratres Roseae Crucis, explores these hidden author’s marks and signs in the works of Shakespeare and other works printed during the period 1586-17401.
It’s important to note, however, that while the study of concealed author’s marks can be intriguing, it’s also a field that requires careful and rigorous analysis. Misinterpretations can easily occur, and not all scholars agree on the validity of the claims made12.”
[LM2]Interesting Then, that Valentin Simmes, one of the London-based printers responsible for printing books that included some of Shakespeare’s plays and sonnets, lived on Adling Hill ‘near the sign of the White Swan.’
[LM3]Yes, I found a whole book by an anon Rosicrucian calling himself Fratres Roses Cruci, outlining the signs and marks in Shakespeare’s work.
In the front, he writes:
Primarily this book is addressed to Arithmeticians, yet its claims are
open to the test of all who can do the simplest sums in addition and
subtraction.
They take you to the threshold of further discovery of interesting but
astutely hidden arcana only to be disclosed by close and careful research,
collection of facts and correct deductions—in a word, by inductive
methods.
[LM4]In the first chapter, he writes:
“The term “seal” here used does not refer to the instrument, but to a mark
seal or signature itself. The practice of identification of documents by
an individual seal or mark, whether open or private, dates back to the
earliest days of civilization.
Present-day manufacturers have their marks and numbers, bankers
their secret flaws and marks of identification whereby to assure their banknotes
and cheques and defeat extensive forgery.
In the early stages of printing it was natural that writers of works printed
anonymously should contrive methods of type arrangement by which, if
thought worthwhile, their authorship could be identified and proved.
They would assume that when doubts arose their books would be searched
for sigilli secreti as the first and most natural effort of investigation.
Strange though it be, there is no evidence of any such examination having
taken place.
Yet, for instance, the Shakespeare Folio and Quarto plays, and Shakespeare’s
Sonnets, are sealed with the Great Seal in many places, though mostly
at the beginnings and ends.”
[LM5]Padding paragraph. Doesn’t add anything to the text.
Trail of the Green Man 