Speaker 1: You're listening to Freedom Talk Radio with your host Andy Pecher,
Speaker 1: live from the UK. Email US Freedom Talk Radio twenty
Speaker 1: thirteen at gmail dot com or visitors at freedom talk
Speaker 1: Radio Online dot com.
Speaker 2: There we go. Heany, good evening one. Welcome, It's Andy,
Speaker 2: It's Tim. It's two peas in a Sunday podcast. Welcome again, Tim.
Speaker 2: We've had some good weather to down the Ork news,
Speaker 2: but it's gonna rain next week. Is snow again in May?
Speaker 2: How about that?
Speaker 3: Yeah, well you're pretty far up, You're close to the
Speaker 3: North Pool, so got to expect these weather anomalies. Too bad.
Speaker 2: Though, What did they do when the weather was birday?
Speaker 2: What would they have done?
Speaker 3: They would have gone to bed and pulled the quilts
Speaker 3: on five deep.
Speaker 2: Yeah. I think that's what people done when I was young.
Speaker 2: You know, they didn't necessarily go to bed to sleep,
Speaker 2: but they went to bed to keep warm, and they
Speaker 2: put the TV on, or they put the old radio on,
Speaker 2: you know, and just just chilled.
Speaker 3: Yeah. Okay.
Speaker 4: Uh So we're going to talk about Shakespeare today, So
Speaker 4: our audience is probably a mix of.
Speaker 3: UK people and North American. I don't know if anyone's
Speaker 3: tuning in from the Philippines or anywhere else. But yeah,
Speaker 3: we got a an audience that should be interested in,
Speaker 3: you know, the truth about Shakespeare. To start off with, Yeah,
Speaker 3: don't they say that.
Speaker 2: What happened in history sometimes happen in the present and
Speaker 2: the future sometimes.
Speaker 3: Yeah, history does tend to repeat in cycles. So there
Speaker 3: are similarities between our time and the Elizabethan era. There's
Speaker 3: a lot of you know, secrecy, and there's a lot
Speaker 3: of secrets coming out, just as there was then. I mean, yeah,
Speaker 3: the queen and her court were very secretive, but at
Speaker 3: the same time, a lot of the truth was leaking out,
Speaker 3: and it would make the figures of the court, not
Speaker 3: least the queen pretty nervous because if the truth came out,
Speaker 3: the scandal could end careers and maybe even lead to
Speaker 3: allegations of treason and which could then lead to execution. Okay,
Speaker 3: So there's a scholar, Abouconian scholar named Edwin Derning Lawrence,
Speaker 3: and he made a great contribution to the Baconian cause
Speaker 3: to link Francis Bacon to the Shakespeare play. Now, most
Speaker 3: Baconians jump on this kind of evidence and say, see,
Speaker 3: we told you Shakespeare was Francis Bacon. Well not so quick. Yes,
Speaker 3: he had a considerable influence on the place. But sole author. No, No,
Speaker 3: I take strong exception to that. No, no, no, Bacon
Speaker 3: didn't even fully write Bacon. There's evidence that's been found
Speaker 3: that Thomas Hobbes, one of his secretary, shows that. The
Speaker 3: study shows that one of Bacon's scholarly books shows the
Speaker 3: style of Thomas Hobbes popping up in several passages from
Speaker 3: the book. So did Bacon exclusively write that book? Doesn't
Speaker 3: look like it? No? Did he claim sole ownership of
Speaker 3: the Shakespeare plays. In fact, he did, and you're going
Speaker 3: to learn about how he said it and what he said.
Speaker 3: But his half brother, another tutor, Prince the seventeenth Earl
Speaker 3: of Oxford. He wrote the quarto versions of the plays,
Speaker 3: and Francis the half brother edited them for the sixteen
Speaker 3: twenty three folio. Okay, so let me go on Andy.
Speaker 3: In his case the heart of the discussion of Edwin
Speaker 3: Derning Lawrence. The heart of the discussion focuses on the
Speaker 3: play Loves Labor's Lost. Why particularly this play? Why did
Speaker 3: Bacon choose this play? To insert the strongest clue in
Speaker 3: the whole canon to the fact that he claims ownership
Speaker 3: of the plays well, because if you're putting all of
Speaker 3: your labor of love into the project and the credit
Speaker 3: is going to a country bumpkin from Stratford named Will Shocksburg,
Speaker 3: then it's love's labor's lost. So he inserts the strongest
Speaker 3: clue of all in that work so that love's labor
Speaker 3: can be regained and he can take credit for being
Speaker 3: the editor of the exteen twenty three folio. And let
Speaker 3: me tell you a little story here Andy. In Toronto,
Speaker 3: the Ostler family still is strongly influential, especially in the
Speaker 3: legal field. They're basically Canada's royal family. They're very high
Speaker 3: up in the British peerage system. I'm not into this
Speaker 3: snobbery aristocratic bloodline crap. I don't care, but I'm just
Speaker 3: bringing it up because Peter Ostler, a very famous Canadian lawyer,
Speaker 3: has a copy of the sixteen twenty three folio, and
Speaker 3: my friend Peter viewed it and looked through it with
Speaker 3: silk gloves, which Peter Ostler insisted he wear if he
Speaker 3: was going to have a look at the book. So
Speaker 3: he leafed through the book and he found all kinds
Speaker 3: of markings and diagram not diagrams, but signatures in the
Speaker 3: folio showing Bacon's hand. In the sixteen twenty three folio, okay, so,
Speaker 3: the long word bear with me honorific cabilit to denatobus
Speaker 3: is found in Love's Labor's Lost, near the beginning of
Speaker 3: Act five, called Actus Cordus. In the sixteen twenty three folio,
Speaker 3: the word honorithic honorithic cabilititi denatibus appeared on the twenty
Speaker 3: seventh line of page one hundred and thirty six of
Speaker 3: the sixteen twenty three folio edition. Okay, the word honorifica
Speaker 3: belt tudenotymous is a Latin hexagram, which I'm going to
Speaker 3: explain shortly. On lines fourteen to fifteen of page one
Speaker 3: thirty six there appears the phrase Bomi boon for boone
Speaker 3: p Prissian A little scratch twill serve. This line alludes
Speaker 3: to a pedantic grammarian named Prissian, though the name is
Speaker 3: spelled Pressian with an e pr e s cia and
Speaker 3: in Love's labor Is Lost? Why refer to him at all?
Speaker 3: Since his name has no significance to anything in the play,
Speaker 3: nor has it anything to do with the dramatic action.
Speaker 3: It rather refers solely and entirely to the phrase, which
Speaker 3: is to be formed from the transposition of the twenty
Speaker 3: seven letters contained in the long word honorithic, habilitu, denotomus.
Speaker 3: The revealed sentence forms a correct Latin hexameter. It is
Speaker 3: intended to prove without doubt that the Shakespeare plays or
Speaker 3: the property of now Edwin Derning Laurence said, the property
Speaker 3: of their author, the property of their editor and co author. Sorry,
Speaker 3: Bacon cannot take sole credit for the Shakespeare works, No,
Speaker 3: he can't. Edward de Vere, the seventeenth Earl of Oxford,
Speaker 3: also is an author. They're the co authors of the
Speaker 3: Shakespeare works. In fact, the Sonnet Poems appear to have
Speaker 3: been given credit to the Earl of Oxford for that
Speaker 3: part of the work. For example, in the dedication page
Speaker 3: to the Sonnets, it says to our ever verr author
Speaker 3: from an ever verr reader. Ever is a pun on
Speaker 3: the word verr, as in Edward Vere and he died now.
Speaker 3: The official date of the Earl of Oxford's death is
Speaker 3: sixteen oh four, the year after the Queen died, who
Speaker 3: died in sixteen oh three. Now it was claimed that
Speaker 3: he died of the plague Lie Lie Lie lie lie.
Speaker 3: Like most British history, it's a complete lie. So what happened?
Speaker 3: King James staged his death so that he could send
Speaker 3: the Earl of Oxford into exile on the penal island
Speaker 3: of Mersey, which is just off the coast of Essex County.
Speaker 3: And to add insult to injury, from the island where
Speaker 3: many people claim there is Shakespeare's cottage, he could see
Speaker 3: his childhood home with inhaling distance of the island, Castle Headingham,
Speaker 3: which is featured in the play Hamlet as the childhood
Speaker 3: home of Prince Hamlet Elsin or Castle. I believe it's
Speaker 3: called all right, all right. So the Latin hexagram that
Speaker 3: I was talking about is intended to prove without doubt
Speaker 3: that the Shakespeare plays are the property of their editor
Speaker 3: and co author, Francis Bacon, who conceived the entire schema
Speaker 3: of the plays, and with the probable assistance of his
Speaker 3: half brother and fellow poet Edward shall I call him
Speaker 3: Tutor or Edward de vere He's a changeling child of
Speaker 3: Queen Elizabeth the First, as was Francis Bacon. They both
Speaker 3: were given to aristocratic families to be reared and raised
Speaker 3: as a ward of the court. Why well, the Queen
Speaker 3: had build herself as the Virgin Queen and wanted to
Speaker 3: keep herself open for marriage for strategic political purposes. In
Speaker 3: case some prince from the continent or some high ranking
Speaker 3: official from the continent wished to marry her. If she
Speaker 3: was seen as an eligible bride, there could be some
Speaker 3: diplomatic leverage to be gained from that. She did marry
Speaker 3: the Earl of Leicester, but secretly in the country, and
Speaker 3: yes it was a church wedding. So beneath the Elizabethan cannon,
Speaker 3: most particularly the shakespeare plays, Francis Bacon, who was in
Speaker 3: charge of editing most of the Shakespeare but most of
Speaker 3: the Elizabethan Canon, including the works of Ben Johnson, inserted
Speaker 3: a biliteral cipher code. And so what is a biliteral
Speaker 3: cipher code. Well, you can read the word as being
Speaker 3: part of the central text, or you could read the
Speaker 3: words as being embedded beneath as a concealed work, because
Speaker 3: the letters were based on a cipher code, a binary
Speaker 3: cipher code that had to do with the ital italicization
Speaker 3: of the letters like letter L for example, which could
Speaker 3: be itals is to slant this way to the left
Speaker 3: or slant this way to the right, and those subtle
Speaker 3: difference in the typography would allow for an embedded work
Speaker 3: to be concealed beneath the surface work, so you can
Speaker 3: read a running narrative embedded beneath the work, where, for example,
Speaker 3: Francis Bacon wrote his own concealed biography beneath the Shakespeare cannon.
Speaker 3: And in the embedded biography he did say, I am
Speaker 3: a legitimate son of the Queen, not an illegitimate son,
Speaker 3: because she was married in a Christian wedding to my father,
Speaker 3: the Earl of Leicester, before I was born. There you
Speaker 3: go right from the horse's month mouth. Now why did
Speaker 3: Francis Bacon take sole ownership of the place. Well, for
Speaker 3: a start, the Earl of Oxford died in sixteen oh nine,
Speaker 3: And on the Sonnet dedication to the Sonnet Poems Shakespeare's Sonnets,
Speaker 3: it indicates that it was published in sixteen oh nine,
Speaker 3: and it indicates on the dedication page that he's already
Speaker 3: dead right to an ever living author for an ever
Speaker 3: living reader, or something like this, right, and it's ever
Speaker 3: The word ether is a pun on his name, Edward Verer. Okay,
Speaker 3: so you're following this, Andy it's a bit complicated.
Speaker 2: A little bit complicated, but you know it's it's also
Speaker 2: in you know, you're doing it in a in a
Speaker 2: way that people can understand, because you know, you're just
Speaker 2: running over about the joint authorships, how they related to
Speaker 2: each other. You're kind of doing it in a nutshell
Speaker 2: this time, rather than dragging it. Who three or four?
Speaker 2: How was it's them? Tutorials I don't understand, but this
Speaker 2: one is easier.
Speaker 3: Okay, good, okay. So the Latin hexagram that we were
Speaker 3: talking about comes from the long word honorithic cabilitude in nottibus.
Speaker 3: It is intended to prove without doubt that the Shakespeare's
Speaker 3: are the property of their editor and co author, Francis Bacon.
Speaker 3: You conceived the entire schema of the plays, and with
Speaker 3: the assistance of his half brother and fellow poet, Edward
Speaker 3: de vere the seventeenth Earl of Oxford, also known as Shakespeare,
Speaker 3: they both are. The Earl of Oxford has put his
Speaker 3: claim to the plays as well, because he put a
Speaker 3: initial e the on many of the sonnet poems. Okay,
Speaker 3: so there is little doubt that this particular play, Loves
Speaker 3: Labor's Lost, is actually Francis Bacon's work. I don't believe
Speaker 3: the quarto version of this play was written by Edward
Speaker 3: de Vere, although I would say most of the quarto
Speaker 3: versions of the Shakespeare plays were his original conception and
Speaker 3: his original work. But this one has Bacon written all
Speaker 3: over it. It's very esoteric, it's very scholarly as a
Speaker 3: play goes. It doesn't hold any entertainment value as far
Speaker 3: as I'm concerned. But Edward de Vere is just amazing
Speaker 3: with entertainment value, just amazing. I mean, come on, Hamlet.
Speaker 3: Who couldn't be entertained by this great play? And he
Speaker 3: wrote the quarto version, no question about it, and Francis
Speaker 3: edited it, and in the editing process he expanded the
Speaker 3: size of Hamlet by double the size for the sixteen
Speaker 3: twenty threefolio. All right. When Bacon inserted the long word
Speaker 3: honorithic kippa, I hate this word honarithic cability denatobus, which
Speaker 3: is composed of twenty seven letters, he placed it on
Speaker 3: the twenty seventh line of page one hundred and thirty
Speaker 3: six of the sixteen twenty three where it appears as
Speaker 3: the one hundred and fifty first word printed in ordinary type.
Speaker 3: So the Latin hexerogramma reads he Ludi F. Bacon nati
Speaker 3: tuiti orbi. Translated into English, it means these plays f.
Speaker 3: Bacon's offspring are preserved for the world. So did Bacon
Speaker 3: really mean that he was the sole author? H I
Speaker 3: don't think he was taking sole credit. But he's saying
Speaker 3: they are his offspring, preserved for all posterity by him. Well,
Speaker 3: they're indisputably the offspring of he and his brother, and Bacon,
Speaker 3: being the editor, is also the co author because he
Speaker 3: added significantly to the original quarto version with his edited version,
Speaker 3: where a lot of passages were inserted and added to
Speaker 3: what the Earl of Oxford had already penn So, like
Speaker 3: I said, Hamlet doubled in size by the time Francis
Speaker 3: was done with it. Now, think about the significance of
Speaker 3: the twenty seventh law nine of page one hundred and
Speaker 3: thirty six of the sixteen to twenty three folio, and
Speaker 3: the one hundred and fifty first word on that page.
Speaker 3: When you do the numerology, it equals the numerological value
Speaker 3: of the letters in the Latin hexagram, which, translated into English,
Speaker 3: is these plays F. Bacon's ospring are preserved for the world. Okay,
Speaker 3: so it's a mathematical proof, God damn it, a mathematical
Speaker 3: proof that Francis Bacon takes credit for the Shakespeare plays.
Speaker 3: Will Shacksburg go fuck yourself, you fucking liar, you cheat,
Speaker 3: you charlatan, go back to Stratford to shoot the fuck up.
Speaker 3: I am sick of this bullshit Eddie, and yeah, I'm
Speaker 3: being a little coarse and vulgar to basically stay up.
Speaker 3: You to the aux forty or sorry, the auch Oxford
Speaker 3: her Oxbridge snobs that have been touting that wilsh Oksbur
Speaker 3: is the author for four hundred years. It's tiresome and
Speaker 3: they're arrogance and the condescending way in which they talk
Speaker 3: to colonials like me is a little bit off pudding,
Speaker 3: So I say fuck them anyway. Bacon deliberately arranged the
Speaker 3: plays in the ox of the plays in the sixteen
Speaker 3: twenty three Shakespeare Folio with an express purpose. The purpose
Speaker 3: he executed was to have the long word honorifici honorific
Speaker 3: cabilitudnotobis on page one hundred and thirty six as one
Speaker 3: hundred and fifty first word falling on the twenty seventh line,
Speaker 3: so that the interpretation and should indicate the numbers one
Speaker 3: hundred and thirty six and one hundred and fifty one,
Speaker 3: the aim being to create a mathematical proof that the
Speaker 3: word and the message was placed there by design so
Speaker 3: its meaning could not be discounted or explained away by
Speaker 3: appeal to odd coincidences. The Latin exagram and its meaning
Speaker 3: must have been constructed before Love's Labor's Loss first appeared
Speaker 3: okay in fifteen ninety eight. Thus, when the plays were
Speaker 3: printed for the sixteen twenty three folio, the scenes and
Speaker 3: acts of the preceding plays and the printing of the
Speaker 3: columns had to be arranged with extraordinary care in order
Speaker 3: to ensure that the revealing page in question should commence
Speaker 3: with the first word of the revealing page in the
Speaker 3: area reginal Quardo of fifty ninety eight, so that this
Speaker 3: page should form the one hundred and thirty sixth page
Speaker 3: of the Shakespeare Folio of sixteen twenty three, in order
Speaker 3: that the long word honorific, cabilitude and natobus should appear
Speaker 3: on page one hundred and thirty six as the one
Speaker 3: hundred and fifty first word of the twenty seventh line
Speaker 3: proof positive mathematical proof positive that Francis Bacon had editorial
Speaker 3: oversight and complete editorial control over the sixteen twenty three folio.
Speaker 3: That clear eddy, that's.
Speaker 2: Shook with about the last thing.
Speaker 3: Okay, so hotorific cabilitude anatobus should appear with numerological significance,
Speaker 3: of course. And so what do you find when you
Speaker 3: add up the numerological value of all the letters in
Speaker 3: the long word? It equals two hundred and eighty seven.
Speaker 3: All right, So there is numerological significance to all of this.
Speaker 3: For instance, Bacon's own name is derived of B, which
Speaker 3: holds the value of two A all the value of
Speaker 3: one C numerological value, three oh numerological value, fourteen n
Speaker 3: numerological value thirteen. When we add all these numbers together,
Speaker 3: we arrive at thirty three. Thirty three is the highest
Speaker 3: degree in freemasonry. Was Bacon a thirty third degree Freemason?
Speaker 3: I'm almost assuredly he was. And he was also the
Speaker 3: founder of well the grand master of the Rosicrucian Society.
Speaker 3: When we apply the numerological value of the letters forming
Speaker 3: the long word, the total comes to two hundred and
Speaker 3: eighty seven, all right. On page one hundred thirty six
Speaker 3: of the sixteen twenty three folio numbers are placed pointing
Speaker 3: to the fact that the long word honorific sorry honorific
Speaker 3: ability to anonymous is on the twenty seventh line, which
Speaker 3: was deliberately placed, of course, because there are twenty seven
Speaker 3: letters in the word itself. There is another set of
Speaker 3: numbers on the other side of the page which reveals that,
Speaker 3: counting from the first word, the long word is the
Speaker 3: one hundred and fifty first word on the page. How
Speaker 3: is it possible that the revealing sentence hi Ludi f
Speaker 3: bacon Nati tuti Orbi tells us that the page is
Speaker 3: one hundred and thirty six and the long word is
Speaker 3: the one hundred and fifty first word appearing on that page.
Speaker 3: This can be explained simply. The numerological value of the
Speaker 3: initial letters and of the terminal letters of the revealed
Speaker 3: sentence arrive at the sum of one hundred and thirty
Speaker 3: six when added together, which is the actual page number.
Speaker 3: At the same time, I'M the numerological value of all
Speaker 3: the other letters arrive at the summer one hundred and
Speaker 3: fifty one, which is the position of the long word
Speaker 3: on that page, where it appears as the one hundred
Speaker 3: and fifty first word on page one, one hundred and
Speaker 3: thirty six. So here's a lot in axagram, Andy, I
Speaker 3: don't know. You can't see it. I wish you could.
Speaker 2: If you had a digital copy, I could put it
Speaker 2: with a show.
Speaker 3: Okay, I'll send I think you have a copy. I
Speaker 3: think I sent you and Donna copy earlier today. So
Speaker 3: the initial letters of who Ludy F baconis nine T
Speaker 3: two E T ORB. The initial letters are h, L, F, B,
Speaker 3: and t O. The numerological value view of these initial
Speaker 3: letters forms the anagram. Forming the anagram is for H
Speaker 3: eight L eleven, F six, B two and thirteen T
Speaker 3: nineteen oh fourteen, and so all of those add up
Speaker 3: to seventy three. The terminal letters are as follows II SI.
Speaker 3: The numerological value of the terminal letters is I nine
Speaker 3: I nine S eighteen I nine I nine I nine
Speaker 3: for total of sixty three. When we add the two
Speaker 3: sums seventy three and sixty three, it equals one hundred
Speaker 3: and thirty six. Okay. The intermediate letters are as follows U,
Speaker 3: D A, cony, at, U, I, T R B. Let's
Speaker 3: place them in order for order's sake, U D A
Speaker 3: C O, N I A, T, U, I, T R B.
Speaker 3: You holds the value of twenty d numerological value four
Speaker 3: A one C three oh, fourteen and thirteen I nine
Speaker 3: A one T nineteen U twenty I nine T nineteen
Speaker 3: R seventeen B two total value one hundred and fifty one.
Speaker 3: Didn't I say that long word honor if it could
Speaker 3: total batanus appeared as one hundred and fifty first word
Speaker 3: on that page.
Speaker 2: Anny, m hm, very interesting. I like the way the
Speaker 2: numbers had up as well.
Speaker 3: Yeah. Thus, in the revealed sentence is some of the
Speaker 3: numerological values of the initial letters went added to the
Speaker 3: sum of the numerological value of the terminal letters, arrives
Speaker 3: at the sum total of one hundred and thirty six,
Speaker 3: the page number the exact page number on which the
Speaker 3: revealed Latin hexagram is located. Hi, ludi f bacon nati,
Speaker 3: tuti orbi. Meanwhile, the sum of the intermediate letters in
Speaker 3: the revealed sentence amounts to one hundred and fifty one,
Speaker 3: which gives the word count position of the long word
Speaker 3: honorific bilit to donatobus on page one hundred and thirty
Speaker 3: six as the one hundred and fifty first word. These
Speaker 3: two sums one hundred and thirty six and one hundred
Speaker 3: and fifty one went out together arrive at the sum
Speaker 3: total of two hundred and eighty seven, which is the
Speaker 3: sum of the numerological value of all the letters in
Speaker 3: the long word honorific cupbilitou donatabus, which comes to a
Speaker 3: total of two hundred and eighty seven. In addition, there
Speaker 3: is a joke on page one hundred and thirty six
Speaker 3: of the Shakespeare Folio that reveals the truth in a
Speaker 3: more definitive form online thirty three, which has the numeral
Speaker 3: numerical value of Bacon's name the words what is ab
Speaker 3: spelled backward with the horn on his head? And the
Speaker 3: answer to the riddle Bacon, And so the numerological value
Speaker 3: of Bacon's name when you add it up, equals thirty three.
Speaker 2: Yeah, but one minute to go to him?
Speaker 3: Oh really, Okay, you've got a final word there, my
Speaker 3: good man.
Speaker 2: Yes, we should make it a criminal offense for historians,
Speaker 2: whether the Oxford or Cambridge, whether they're Stratford or Scotland,
Speaker 2: to change history. You know, why can't we just have
Speaker 2: history as it really is? Or was. You know, it's
Speaker 2: not right, is it. I mean, it's basically what it
Speaker 2: is in my eyes, is somebody's made up a lie.
Speaker 2: People have believed it for a long time. Somebody comes
Speaker 2: along and uncovers the lie, and then people still believe
Speaker 2: the lie. It doesn't make no sense to me in
Speaker 2: any situation, not just in Shakespeare authorships.
Speaker 3: I know it's incredible, but you know, part of the
Speaker 3: blame must be laid at the feet of Francis Bacon
Speaker 3: because he was the head of her mad.
Speaker 1: You're listening to Freedom Talk Radio with your host, Andy Pecher,
Speaker 1: live from the UK. Email us Freedom Talk Radio twenty
Speaker 1: thirteen at gmail dot com, or visit us at freedom
Speaker 1: talk Radio online dot com.