THE EARTHMOVERS:
[With regard to the works of Shakespeare]
[There is] the surface meaning and also a hidden one. A Masonic phrase which shows that he was saturated in the Masonic Ritual. This may well pass by the uninitiated but will be noted with interest by the Craft. This use of double phraseology has hitherto passed apparently unnoticed. The reader therefore is enjoined to note, to weigh, and consider the underlying interpretation . . . (A. Dodd: author’s note.)
William Shaksper of Stratford, Dodd reveals, was an illiterate groom who went to London to seek his fortune. There he set up a trade in holding the horses for the gentry as they attended the Globe Playhouse. Bacon, who had contacts with the theatre’s owner, and who often attended plays held there, met and made it his business to know Bill Shaksper, for his name appealed to the esoterically minded Bacon. With a little adjustment he saw that this name could be tailored into the title for an author who would ‘shake the sphere (world)’ or the ‘spear-shaker,’ a reference to the tradition of the woman depicted with the helmet in a martial stance and shaking the spear of wisdom at the serpent of ignorance.
This same woman was known to the Greeks as Pallas Athene and to the Romans as Minerva, a statue of which can be found even in the Vatican itself. This is the Gnostic Freemasonic profaning of Genesis 3:15, the ‘woman’ of Genesis, that divine promise revealed to man in the Scriptures in the wake of the fall and which became manifested as the Virgin Mary standing on the earth with her foot on the serpent’s head. This reversion to restrained paganism and anti-Catholic ethos in contemporary writings, Gwynne concludes, is to be found widespread throughout the works of Shakespeare. (M. Gwynne: Baconiana; The Francis Bacon Society Inc., December 1992.)
The hard fact is that there is no evidence at all to show that the peasant born William Shaksper that is now accredited with the works named after him is in fact their author. If one believes that commoner Shaksper alone, without any inspiration from high or low, was capable of such a feat as depicted in the all-embracing worlds of Shakespeare, then one will believe anything. Of all the supposed writers of Shakespeare, only Bacon fits this mould, for he was of royal blood, had the intellect, the esoteric Hermetic background, the understanding, the education and experience, the talent, the wealth, the occupation and authority to access the information, travelled a lot, and above all, had the motive and means to pen the vast and ingenious works of Shakespeare. Shakespeare’s (Bacon’s) knowledge of Hermetic, neo-Platonic and cabbalistic teaching appears by way of certain Rosicrucian themes found in As You Like It; Love’s Labour Lost; Venus and Adonis; and the Sonnets.
In Bacon’s New Atlantis we have a vision of a science ruled by sages of Solomon’s House (Magi) and the Father of Solomon’s house rides in a chariot surmounted by a golden sun. It is possible that the character of Berowne in Shakespeare’s Love’s Labour Lost is based on Bruno perhaps also the two pedants, Don Armado and Holofernes, who are the foils of the lovers. Some of the rituals connected with Fɾҽҽmαsσɳɾყ may be derived from the Hermetic writings, and Mozart’s Magic Flute, which is concerned with Fɾҽҽmαsσɳɾყ, has a temple of Osiris and Egyptian priests. (J. Trusted: Physics and Metaphysics: Routledge, 1991, p.40.)
Shakespeare is also awash in Freemasonic propaganda, symbols, allegory, coded messages and innuendos. In the Comedy of Errors:
DUKE: One of these men is Genius to the other;
And so of these: which is the natural man,
And which is the spirit? Who deciphers them? (Act V, sc,I)
The ‘genius’ is, of course, Bacon himself, and he teases the world by asking who is the natural son and who is the spiritual Son, profaning Jesus when He asked the Pharisees: What do you think of the Christ? Whose son is He? (Matt.22:42)
Jesus was trying to draw out of them a recognition of that Spiritual Sonship by which He is introduced in the opening sentence of the New Testament, where in the Melchisedech sense of Psalm 109 He is termed a Son of David, in contra-distinction to David’s natural son and successor Solomon in whose name the rival ‘Allegorical Temple’ was/is being built - a distinction of such grave import that the very reality of the two Kinds of sonship forms the martial backdrop to the allegory key that the former Pharisee-Adept Saul would later as Paul give to the Galatians (4:24).