One of the most remarkable facts about Shakespeare’s writing is its profound knowledge of the culture, history, language, legal systems and politics of southeastern Europe, northern Africa and southwestern Asia, writes Philip Ochieng.
First part can be reached by clicking here
That is why his sonnets — probably the most sublime poems ever written — are dedicated to a “Dark Lady.”
The Caucasian world’s own New-Agers agree that the “Dark Lady” is none other than Isis, the jet-black-skinned triple goddess of northern and eastern Africa.
Thus many powerful historical circumstances associate Shakespeare with that part of the world — the Middle East — to which we ourselves (the Kiswahili speakers) owe almost all of our higher thought content — in philosophy, science, mathematics and theosophy.
The fact remains, however, that Shakespeare was born in England. Yet, for centuries in England itself, a parallel intellectual tradition has asserted that Shakespeare was not the author of the plays, poems and other brilliant creative works that the world attributes to him.
One of the latest of such assertions is by Simon Cox in Decoding the Lost Symbol — a book on Dan Brown’s controversial fiction. Cox attributes that intellectual “imagineering” — to use a charming word coined by Walt Disney — to anybody else but Shakespeare.
His candidates include the Earl of Oxford, the Earl of Derby and Christopher Marlowe. But Francis Bacon scores the highest marks. Of course, Bacon’s intellect was as brilliant and his knowledge as encyclopaedic as Shakespeare’s. And Bacon’s “certificates” quite outnumber Shakespeare’s.
How could Shakespeare, an untravelled semi-educated boy from a small town in an insular country — living far away from any world centre of culture and knowledge — possibly amass the profound alchemical, medical, astrophysical, geo-mathematical, politico-economic, civic, legal and historical knowledge that informs this work?
How had he acquired the art to pen the most tender poetry, to devise the most sophisticated plots and to create the most memorable characters in drama?
Even an inborn genius requires a certain level of culture to exploit that genius fully. Nobody nurtured only in an igloo can ever become a Darwin, a Fukui, a Hawking, a Paganini or a Picasso.
That, then, is what Bacon had over Shakespeare. Bacon had trained in literature, grammar, philosophy, law and science. He had also extensively toured Continental Europe and the Near East — the very societies that are the subject-matter of those poems and theatre pieces.
In addition, Ignatius Donnelly, the Minnesotan senator who dabbled in Egyptology and the Pythagorean magic of numbers, claimed, in his 1888 book The Great Cryptogram, that he had discovered a coded message disqualifying Shakespeare and Marlowe.
Cox reports that, in the words “Seas ill said that more low or shak’st spur never writ a word of them,” the words “more low” stand for “Marlowe” and “shak’st spur” for “Shakespeare.” In the claim to authorship, Marlowe is “more low” (than Bacon) and Shakespeare is simply shak-y and spur-ious!
It seems, then, that, for such a task, you need somebody mentally as porky as the carrier of bacon! But by what magic did Bacon score such a feat?
Listen to this. Shakespeare was 46 years old — Cox reports — when the Authorised Version of the Bible was completed in 1611.
From this, Cox draws our attention to the fact that, in Psalm 46, “shake” is the 46th word from the beginning and “spear” is the 46th word from the end. Cox’s question is: Are the four 46s merely coincidental?
To be continued