Shaking a Spear at Ignorance and Vice Timothy Spearman EMAIL TIM AT [email protected]



Author Timothy Spearman is on The Knights of Liberty Show with Andy Peacher every Saturday. Tim and Andy also host The Truth Police every Monday. Catch Tim and Andy's radio shows at Freedom Talk Radio Network 12:00 am to 2:00 pm Saturday and Monday. Andy is an activist in Britain fighting to get his kids back from child services. He campaigns tirelessly with Maggie Tuttle and other activist friends in the UK to return kids to their rightful homes. Tim is a human rights activist and writes tirelessly in an effort to expose the truths that will set us all free.

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http://www.youtube.com/user/Yourule19 Freemason and Rosicrucian Lord Oxford Is Shakespeare http://www.youtube.com/watch?v=L7BrljO8f2c

Timothy Spearman has made some astonishing discoveries about history. The true identity of Shakespeare is just one of his amazing discoveries. This short film by Robert Badali is based on Timothy Spearman's portrait painting comparison of the Earl of Oxford and William Shakepeare. The featured paintings include one of Lord Oxford at the age of 36 and another under his pen name William Shakespeare, which he sat for just before his official death at age 54, when his death was faked and he was sent into exile on the Isle of Mersea near Colchester, Essex County. He was exiled following the death of his mother Queen Elizabeth I in 1603 as he was considered a threat to the throne by King James I. In Romeo and Juliet, he reveals his identity as the Tudor prince in the balcony scene speech given by Juliet, "What's in a rose?" The rose refers to thee Tudor rose. Though he could not bear the name of the rose, he still smells as sweet because he retains the bloodline of the Tudor family. Timothy Speaman is a revisionist historian. Check out his new radio shows The Truth Police and the Knights of Liberty at Critical Mass Radio in the UK. Visit Timothy Spearman's publisher www.xoxopublishing.com to see his new book releases "Must I Remember" and "The History of the Peace Train".

Tim Spearman pending film project SECRET DESTINY Secret Destiny Mission Statement Secret Destiny is a project I couldn’t pass up. I took it on because it presented me with a quest to find a truth. I am now presented with the honour of sharing my research findings concerning modern terrorism with the world. People deserve to know what is happening in their world. They cannot be left in the dark. I teach security for the Ministry of Community Safety and Correctional Services because I am a specialist in the area. I know how to keep my corner of the world safe and secure. That is why I am sharing my expertise with the world. I would like the other corners of the world to be as safe and secure as my corner of the world. The title Secret Destiny is something of a paradox since the destiny of this film is no secret. It is a title that will soon be on everyone’s lips as news of this film spreads. Soon everyone will have heard of it. Time tells the truth. This film will set the record straight and explain why over 300 lives were taken from this world on one of the most tragic days in Canadian history. Time tells the truth. The truth about history is told in this film. Despite its fictional content, it leaves the M.O. of the conspirators exposed. Their days are done. Humanity’s ascension coincides with their descent into the abyss. A cultural renaissance unrivalled in the annals of history is about to dawn. We are at the cusp of a new season, Cosmic Autumn, a time when the fruit of humanity is destined to achieve harvest. The dawning renaissance is the fruit of heaven and earth and it is ripe. Here lies our true mission. We wish to help liberate the oppressed Canadian artist and intellectual and to grant them the creative outlet they need to get their message out there. Secret Destiny is the first step. Assist us in bringing the truth to light so that no lie can hold a candle to our truth. A contact on the Canadian Human Rights Commission has offered to put us in touch with the 324 families affected by the Air India Disaster. We plan to hold a candle light vigil with over a thousand participants marching in downtown Toronto in honour of those killed in the terrorist attack. The film will open with this candle light vigil. Time tells the truth and it is high time it came out. We think the Evangel expressed it best when he proclaimed, “Ye shall know the truth and the truth shall set ye free.” Secret Destiny was inspired by the stories of the heroic families that endured this tragedy. What happened in 1985 is now an integral part of Canadian history. We can never forget. We must never be allowed to forget. What this film will help us do is forgive. Once the truth is told, healing can begin. Once the deception and the veil of lies are removed we can begin to move forward and take pride again in what we have achieved in Canada, the most peaceful and peace-loving country in the world. Help us to heal the victims of this tragedy. Help them to overcome their grief.

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Odds-on Favourite is a crime thriller set in a Vegas casino called The Mangrove. The heroine is a Chinese beauty from Shanghai named Zhi Fan. She was more entrancing than the famous Chinese concubine Xishi, who drove men to offer gold coins for the privilege of catching a glimpse of her. In essence, it was no different for this Chinese casino girl of the hottest casino in the city. Men didn’t see her as a trophy date to show off at the gaming table. It was more than that. They coveted her more than their winnings. If they could play for her they would. As far as they were concerned she was the ultimate prize. Their winnings at the gaming table merely served to buy their way into her company even if it were only for a few dreamy minutes. But such beauty comes at a price and some will pay the ultimate price.

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This crime thriller is based loosely on the history of the Residential School system in Canada. While the names and persons presented in the story are fictional, the novel is based on crimes exposed by Rev. Kevin Annett. Child trafficking and satanic ritual abuse is a serious problem more endemic in our world than anyone realizes. This novel is unique in that the sleuth solving the crime is an astrologer, who employs her art to catch the killer. The author’s knowledge of the occult is profound and the depth of research that has gone into this novel is obvious. While the tale is grim, the heroes and heroines triumph and evil is defeated in the end. The fulfilment of Native prophecies at the triumphant conclusion leads to newly awakened hope. A dimensional shift occurs and our prison planet becomes a planet where hopes and dreams can at last be achieved and where nothing can obstruct the truth from setting us free.

Must I Remember?

Timothy Spearman's groundbreaking novel sets the record straight on the Afghan War http://www.youtube.com/watch?v=MVlCZYgqTyQ&feature=youtu.be Must I Remember?

Timothy Spearman

Paperback available for order online:



http://www.lulu.com/shop/timothy-spearman/must-i-remember/paperback/product-21480172.html "Must I Remember?" is a line from Hamlet. My favourite play. It's most apropos as a title because it refers to the prince's memory of his mother and father in the throes of love, only to have his father die on him and she marry with unseemly haste. In reference to my book, it's an ironic reversal because the mother is a pillar of virtue who not only mourns her husband's passing, but never remarries and devouts herself to raising and being the self-sacrificing and vigilant guardian of their children. She is the epitome of virtue in contrast with Queen Gertrude who is "Frailty, thy name is woman" to Prince Hamlet. That he might not beteem the winds of heaven Visit her face too roughly.—Heaven and earth, Must I Remember? Why, she would hang on him As if increase of appetite had grown By what it fed on, and yet, within a month— Let me not think on ’t. Frailty, thy name is woman!— A little month, or ere those shoes were old With which she followed my poor father’s body, Like Niobe, all tears. Why she, even she— O God, a beast that wants discourse of reason Would have mourned longer!—married with my uncle, My father’s brother, but no more like my father Than I to Hercules. Within a month, Ere yet the salt of most unrighteous tears Had left the flushing in her gallèd eyes, She married. O most wicked speed, to post With such dexterity to incestuous sheets! It is not nor it cannot come to good, But break, my heart, for I must hold my tongue. Act I, ii, ll.140-159 "Straw boats to borrow arrows" is a proverb based on a legend about a Chinese military strategist, an adviser to a general. The narrative style of this novel is influenced by the legend. According to the fable, the general asked his adviser to produce one hundred thousand arrows for his army in advance of a military offensive across the Yangtze River. Rather than decline what the general considered a mission impossible, the adviser agreed to the challenge. Not only did he promise to deliver the arrows, but insisted it could be done in only three days. He vowed to deliver one hundred thousand arrows within seventy-two hours or face certain death if he failed. He launched his boats just outside the enemy's naval yards. The enemy, unable to see clearly through the fog, resorted to firing volleys of arrows to prevent an attack. With theeventual break of dawn approaching, the adviser called in the boats bristling with one hundred thousand plus arrows, all donations of a badly outwitted enemy.



In this novel about an Afghani refugee family, there are several straw men dispatched in several narrative boats. The story is told by a central protagonist, who breaks off her narrative to allow her mother and brother to tell their sides of the story. And each narrator tells stories about the patriarch of the family, Mr. Rostami, who died at the hands of the Taliban. What makes this story of terror unique is the telling of it. With so many straw men telling their sides of the story, it is impossible to establish a definitive narrator of the novel. Fire might be drawn, but by whom? It seems like there would be a lot of wasted arrows. Must I Remember is based on the Rostami family's epic journey to find a new home.

My daughter Marie's cover for my autobiography Around 1990, Timothy Spearman met Tiger Ray McCendrick, a Hollywood agent living in Toronto’s Church St. gay district. There was a fundraising sale to raise money for HIV/AIDS hospices in Toronto and Tim was out to show his usual support for human rights issues. Tiger Ray was struck by Tim’s energy and charisma and being a former Hollywood agent, he was trained to spot star value. Seeing something special in Tim, he felt motivated to pass on to Tim his secret formula for living. He told Tim how how to sail the Seven C’s. “First you need Confidence,” he began. “Then you need Courage. Then you take Calculated Chances. After that, you’ll become a Champion, a Conqueror, and with any luck, a Caesar.” Tim has sailed the Seven C’s. His ship has come in. Read this story about a modern day Sindbad. As with the story “The Life of Pi,” it will make you believe in God and miracles. Tim's back cover photo shows him hugging a bust of Julius Caesar. It was taken in 1993 by an artist friend as a harbinger of the future.



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The History of the Peace Train is a book for our End Times. Do you want peace? Gregg Braden says it only take the square root of one percent of a population to engage in positive wilful intention through meditation or spiritual practice to lower the incidence of violence and accidents in a target community. So let's hold a Peace Train in your community and see what it does to affect the vibration in your area. http://youtu.be/AhYLHIOKoOW

Upcoming release The History of the Peace Train While social engineering has long sought to derail the peace process by making the Peace Train seem like some quaint anachronism of a bygone age, the Peace Train is back on track. The world will never know peace argue the cynics when really they just don’t care because they are living on the right side of the tracks and don’t have to concern themselves with the peace process. To them, it is no consequence if the peace process gets derailed. The juggernaut of greed, land acquisition and the theft of resources will never affect them. They are the pirates, after all. What we need is to get the Peace Train back on track to entrain the children so that they can build the world of peace we have failed to secure for them. With Timothy Spearman’s The History of the Peace Train, the Peace Train Cat Stevens made so famous rides the rails once more.

Long considered dinosaurs of a defunct evolutionary period, the steam engine had suffered roughly the same fate as the gargantuan beasts that roamed the marshes and flatlands of the Cretaceous Period. Like the dinosaurs, they were replaced by something higher on the evolutionary scale, something more advanced that could adapt to the changing times and the demands of a competitive world in which only the fittest could survive. But while the steely hand of progress is often ruthless in the stranglehold grip it maintains over development, there is a counterforce of a more compassionate and caring nature that harkens back to former times with a nostalgic longing that somehow manages to slow down the speeding juggernaut of progress, granting us a brief respite and a chance to take a breath. This desire to pay homage to the past and acknowledge the debt owed to our forebears is precisely what makes historical and pioneer villages so attractive, and why Colonial Williamsburg is one of the most popular tourist destinations in North America, or why the old world city of Quebec exudes a charm that attracts tourists from all over the world. It is this longing for the past that raises the spectre of a technological Jurassic Park, where some of the primitive beasts of our industrial past are brought back, resurrected in necromancy ceremonies all over the world, raised from the dead, repaired and restored to full vigour by the deft hand of craftsmen, metalworkers and restorers of every stripe. It is precisely this nostalgia, this longing for our ancestral past, this veneration of the artisanship and craftsmanship of former times that has re-rigged tall ships, refitted steamships, restored old cars and resurrected the steam-driven trains, the dinosaurs and extinct beasts of former times dug up from antique fossil beds, their technological DNA extracted and their lifeblood renewed.

While it may only be a book, the words on a page sometimes speak louder than those issuing from the mouth of a statesman. They say the pen is mightier than the sword. To stay the hand of violence requires greater strength than to raise the cry of war.

Timothy Spearman's Sacred Geometry Anthology is a unique volume that employs geometry to reveal some of the major occult secrets of the world.



Available for order at:



https://inkbok.com/royalty-works/sacred-geometry-poetry-anthology

Tim Sails the Seven C's with Confidence, Courage, Calculated Chance, as a Champion, Conqueror and one day a Caesar The Hourglass: A Film Short http://www.youtube.com/watch?v=Ii5S3UjB73Q



This short film by Robert Badali is based on Timothy Spearman's song lyrics set to an anonymous composer's music. It is enormously gratifying to have a friend like Robert, who is one of the few people to come along to show appreciating for my work. I am an artist and it takes one to know one. Thanks to James Newhouse and a musician who has chosen to be anonymous for their help in composing this music.



THE HOURGLASS

HAVE YOU NOT NOTICED IT’S GETTING LATE IN THE HOUR? TIME AND NUMEROLOGY ARE INEXTRICABLY LINKED. AN HOURGLASS IS AN OCCULT SYMBOL INDEED, CONNOTING AS IT IS ABOVE SO IT IS BELOW, TEMPORAL IN SINK WITH THE ETERNAL, BUT TIME IS RUNNING OUT ABOVE THE HOUR IS ALMOST UP BELOW. THERE IS NOWHERE TO HIDE AT THE END OF THE AGE THE TIME OF THE END ALREADY UPON US THIS MOMENT NOW 8:15 A.M. EST ON AUGUST 6 1945 B-29 BIRD ENOLA GAY GAVE BIRTH TO LITTLE BOY ON 33RD DEGREE LATITUDE LINE A PLACE THAT WILL LIVE IN INFAMY. GREAT SEAL OF THE U.S. HAS 13 COURSES ON THE PYRAMID FOR 13 PERIODS OF 13 YEARS THE BOTTOM COURSE DISPLAYS 1776 OF COURSE. FROM JULY 4 1776 TO JULY 4 1945 TOTALS 169 YEARS, FROM JULY 4 1945 TO AUGUST 6 1945 ARRIVES AT 33 DAYS. 13 TIME PERIODS OF 13 YEARS DOES COME OUT TO QUITE A SUM.

The Pentacle: Killing of the Princess and King http://www.youtube.com/watch?v=G86Aw1iR8SQ

The Pentacle By Timothy Spearman A

star

having A 5 points A plot represents plot known the star Sirius known to insiders to the Illuminized to Masons as the killing Masonic brotherhood as the killing

of the king also arranged for the killing of the princess. Lighted by flame surrounded by pentacle marked by torch symbolizing illumination of the Sirius star. Dealey Plaza and Pont de L’Alma mark sites representing king and virgin queen worship Virginia-Simiramis-Diana had to die at the site of traditional Diana cult worship known as Pont de L’Alma. They need a lighted torch to mark the site with real meaning to the Diana cult. but knowing agenda of ritual murder activity assassination, murder rite, story of JFK on Masonic the official official line is not is not coup hit A A

Timothy Spearman and Andy Peacher Show The Truth Police: Radio at its best at: http://criticalmassradio.co.uk/

Timothy Spearman and Andy Peacher's show airs Mondays at 3:00 to 5:00 pm EST. You can and must handle the truth. Timothy Spearman and Andy Peacher's show airs Mondays at 3:00 to 5:00 pm EST. You can and must handle the truth.

Tim shakes his spear at the twin serpents of ignorance and vice as did the venerable god Apollo before him with consort Pallas Athena at his side. The Spearman reveals Shakespeare's Codex to all the world, the M.O. of the front man employed for generations by the Illuminati-controlled intelligence services. Just as Will Shakspere from Stratford was the front man used by the Illuminized Freemasons working for H.M.S.S. to hide the identity of the courtier scholar, Edward de Vere, Earl of Oxford, so the modern day intelligence services employ an array of front men, including Lee Harvey Oswald, Timothy McVeigh, Manuel Noriega, Saddam Hussein, Osama bin Laden, etc. to conceal their covert operations orchestrated to advance the New World Order of Lucifer and the All-Seeing Eye Cult of the Brotherhood of the Snake and the Serpent Cult, Freemasonry. Edward de Vere worked for Francis Bacon's secret writing ministry, The Honourable Order of the Knights of the Helmet, the secret writing ministry named in honour of Pallas's helmet of invisibility, which they did kiss and place upon their heads, while writing anonymously and under pen names. Meanwhile, Will Shaksper of Stratford, cousin of de Vere through the Arden family, would take the credit for the play so the true author could remain hidden behind the stagecraft.



So now in our age, we see the same M.O. played out in the drama known as the Killing of the King ritual, which took place in Dealey Plaza, Dallas on Nov. 22, 1963, when Lee Harvey Oswald took the fall for the covert operation orchestrated by the All-Seeing Eye Cult's CIA. Osama bin Laden of the Freemason/MI6 creation known as the Muslim Brotherhood would later work for the CIA under the code name Tim Osmond, where he would be scapegoated for 9/11 while Dick Cheney was running his decoy wargame exercise known as Vigilant Guardian and Northern Guardian that same day. Shakespeare's Codex is alive and well passed on like a torch from the old world the the new, Francis Bacon's New Atlantis, the U.S.A.

Gandhi leads ambulance team for British during bloody suppression of South African Natives Paperback: 287 pages

Edition: 2nd ed. (June 1, 2009)

ISBN: 978-0-9814992-2-2

Price: $12.50

Size: 6 x 9

Embarking on a historical analysis of Mahatma Gandhi (1869-1948) - the most revered politician/saint of the 20th century - is a daring enough adventure in itself. Any author attempting to remove the halo from this glorified character risks his own reputation in today’s politically correct intellectual world. Books on Gandhi number in the thousands, yet none of them can escape the fact that it is in South Africa where Gandhi nourished his purported ideals following a series of public disgraces encountered at the beginning of his career there. History books teach that Gandhi’s life changed drastically when, as a young lawyer traveling by train from Durban to Pretoria in pre-South Africa, he faced a series of racial humiliations in 1893. These humiliations galvanized him to fight against apartheid and later against British colonialism. These far-reaching consequences have been attributed to what transpired at the Pietermaritzburg train station where he was evicted from a first class train compartment. Free informational bookmark included with each book ordered. In this provocative text, retired U.S. Army Col. G.B. Singh and Dr. Tim Watson subject the 20th century’s most revered figure to a rigorous cross-examination on the witness stand. Who would have dreamed Gandhi would ever be questioned, let alone be cross-examined in court? The courtroom lessons learned through the historical scrutiny of Gandhi’s racial encounters must spark a re-evaluation of our perceived “historical truths.” The authors recognize a modern culture of deception and propaganda, and simply wish to set the record straight on this issue. They request that their supporters and detractors alike view the book as a search for honesty in the historical account. This book is sure to provoke lively debates inside and outside the halls of learning. The authors hope all will benefit from the revelations within this book - however shocking - and that the verdict will help free the world from the yoke of “propa-gandhi.” Col. G. B. Singh (Ret.) served in the U.S. Army. He is a professional student of Indian politics, world religions and their true historical values and political impacts, and the life and teachings of Gandhi. He lives in Tennessee, USA. Dr. Tim Watson gained his higher education in Europe and taught for several years in East Asia. He currently works in TV and film in Toronto, Canada, and hosts a weekly radio show at Orion Radio micro1650am.com

Reply to Zarathustra

By Timothy Spearman



Are we prisoners of the moment or can we use faith, imagination and hope to set ourselves free? This gloriously panoramic musical allegory, The Symphony of Time, offers an optimistic answer. Here is a sophisticated postmodern synthesis of spirit and materialism, consciousness and music, text and hypertext that will captivate and liberate the modern philosopher and educated reader.



Available for order at:

https://inkbok.com/book/reply-zarathustra

The New Heaven and the New Earth Who Is Pushing the Pen?



By Timothy Spearman



The mysterious narrator who writes with his feet, and is so ordinary as to be extraordinary, writes with his ffet because he is too ordinary to hold a pen in his hand. In this unconventional and breathtakingly original novel, the reader is lead through a series of episodes that incorporate elements from the life of every man. This is a book that moves from the tragic to the comic effortlessly, as we are taken on a journey that operates on many levels of consciousness at once.



Available for order at:



https://inkbok.com/book/what-made-me-write-my-feet



Portrait Painting Comparison of Edward de Vere and William Shakespeare Good Friend, Sweet Friend, Lend Me Your Name

By Timothy Burns Watson



A man calling himself Lord Ampthill, who if memory serves, was the Grand Master of the Grand Lodge of England in the early 20th century, wrote the foreword for Rev. J.J. Doke's biography of Gandhi. What is amazing about this is that Lord Ampthill actually presided over the laying of a foundation stone for a new Shakespeare Theatre in Stratford in honour of the supposed birthplace of the bard. In other words, this prominent Freemason was so duplicitous that he was not only instrumental in promoting the 400-year-old myth of Will Shakspere, but was in the process of cultivating the new myth of the 20th century concerning Freemason Mahatma Gandhi. Gandhi's actual name was Mohandus, but became Mahatma because Theosophists who happened to also be initiated Freemasons were referred to as Mahatmas, meaning Great Souls.

To understand the Freemason-Rosicrucian-H.M.S.S. operation known as the Shakespeare plays, one needs to read Ignatius Donnelly’s book "The Great Cryptogram: Francis Bacon’s Secret Cipher Code in the So-Called Shakespeare Plays". Donnelly was an interesting man. He was a U.S. Congressman, who was actually running for the presidency at one juncture. What is incredible is that he cracked the code that reveals a secret biography of Will Shakspere, the frontman Manchurian candidate, who took credit for the plays and details about the gentleman of the court that concealed his authorship as an agent of the crown. At any rate, "A Comedy of Errors" was the first play to be performed and it was staged at Gray's Inn, one of the Inns of Court in the City of London, where both Edward de Vere, the Earl of Oxford, and Francis Bacon attended law school. The reason this play was chosen as the first to be performed is because it contains the theme of the entire H.M.S.S. Manchurian Candidate operation, which would employ Will Shakspere as the replacement front man, who would take credit for the plays so the British agent could hide behind the stage curtain. The theme of the play thus revolved around two identical twins, who were constantly mistaken for one another, which was in fact the case for the bard and Will Shakspere, whose names were so alike that they were often mistaken for one another.

Shocking though it may be, Bacon and Oxford it happens were half brothers and concealed princes of the realm, Bacon through the secret marriage of Robert Dudley, the Earl of Leicester, to Queen Elizabeth I and Oxford, the product of a rape then Princess Elizabeth endured at the hands of her stepfather, Thomas Seymour. There is something deeply suspicious about the conduct of court officials in the wake of this rape. In his biography of Francis Bacon, Alfred Dodd records that the queen was secreted away to the country to give birth to this bastard child under the auspices of Lord Burghley, her trusted confidante and friend. The reason this is odd is that it happens to be consistent with the behavious of high-ranking Illuminati families, whose virgin children are raped by a high wiccan priest, in order to seed a Luciferian offspring. Some may find the circumstances of the rape and aftermath suspicious in this regard as there are aspects of the scenario that complement Satanic ritual rape. It is interesting to note that, in the ancient world, it was believed that a wise magus was very often the product of an unnatural birth such as incest. The Earl of Oxford was a prodigy and a wise Magus of the kind only seen once in a millennium.Why the concealment of the queen's secret issue? It is now believed that she had at least three concealed princes of the realm: Francis Bacon, Edward de Vere and Robert Devereaux, the Earl of Essex. Were the queen and her close officials involved in Illuminati sorcery and Satanic ritual sex magic or were they rather aware of some prophecy pertaining to the fate of her children that required her to take pains on their behalfs and conceal their existence from the world so that the Luciferian faction would not hunt them down and kill them. The latter seems the most likely given the beauty and majesty of Francis Bacon's and Edward de Vere's work and the legacy they have spawned, the most miraculous and edifying of its kind.

Together, these concealed princes would start Fra Rosy Cross and the Honourable Order of the Knights of the Helmet, named in honour of Pallas Athena, the Spear-Shaker who wore the helmet of invisibility. The bard is in fact wearing her helmet as one of Francis Bacon's team of invisibles, who are writing under pen names or anonymously as members of the secret propaganda ministry. Meanwhile, Will Shakspere, who is made great light of in the comedies through such characters as Sir John Flastaff (False-Spear) was a cousin of Edward de Vere through the Arden family. He becomes a figure of fun in the prologue to "Taming of the Shrew," where a drunken beggar is conveyed to a Lord's house, placed in his bed, dressed in fine clothes, lordly rings placed on his fingers. When he comes to, he is addressed as My Lord, told repeatedly he is Lord of the manner, addressed by the Lady of the manor as My Lord, until he begins to believe he has in fact been in some distemper that has caused him to forget his true stature. Within no time he begins to fall for the ruse and believe that he actually is the Lord. The whole play is based on mind control. Katerina is mind-controlled by Petruchio, who tells her it's the moon in the sky when it's actually the sun at midday and confuses day for night so utterly that her senses are so out of whack she doesn't know day from night. He then subjects her to food deprivation and sleep deprivation, all three strategies from the author's intelligence programming manual. Who else would be familiar with such psychological programming techniques but a member of British intelligence and Her Majesty's government? The Illuminati Bacon cabal had made the Manchurian Candidate into an art form only to employ it as recyclable M.O. for the next 400 years. The All Seeing Eye Cult-controlled intelligence services would then recycle the tried and tested M.O., one that they had refined into an art form for covert operations spanning some 400 years or so. The patsy front man would be used to conceal their covert operations, so that a lone front man would take the credit or the blame for the operation so the true operatives could remain behind the curtain with the puppet masters. Thus, a look alike of Rothschild agent and 33 Degree Freemason, John Wilkes Boothe would die in the barn allowing the assassin to escape unscathed. Lee Harvey Oswald's look alike would implicate him in a variety of settings, setting him up as the patsy front man for the Kennedy coup d’état. Timothy McVeigh would have a look alike on the ATF Bureau, who would implicate him by association with the Oklahoma Bombing. Osama bin Laden meanwhile has obviously had doubles doing the CIA videos for him. And more recently, Saddam's look alike would not only go to the dock for him, but would even stand in for him on the gallows. Very generous of him if it were actually a volunteer, but far more likely to be a mind-controlled Manchurian canadidate duped into believing he is the martyred Iraqi leader, just one more low born figure of fun in Illuminati stagecraft masquerading as statecraft.

SHAKESPEARE'S CODEX

Timothy Spearman of www.Thatradio.com is the Spear Shaker par excellence. Catch Tim's program Shaking a Spear at www.Thatradio.com Thursdays from 10:00 to 11:00 p.m.



Timothy Spearman is masqued marauder - Catch Me If You Can! [email protected]





"Shakespeare's Codex" is an article on the use of a common M.O. by the world's Illuminati controlled intelligence services to conceal the real nature of their clandestine operations through the use of a front man. The M.O. was developed and perfected in Elizabethan England under the control of H.M.S.S. head Sir Francis Bacon, who employed the Shakespeare authorship deception by using Will Shakspere, the commoner, as the front man in order to conceal the identity of the true propagandist for National Security Reasons. The DISPLAY to the right shows the bard seated on the right receiving back his hair in a series of thumbsize Powerpoint images so that he more closely resembles the man he was on the left at age 36 when he sat for a portrait under his own name, Edward de Vere, Earl of Oxford. Will Shakspere, cousin of Edward de Vere through the Arden family, would be the illiterate front man Manchurian Candidate of the H.M.S.S. covert operation, who would take credit for the plays. The M.O. of the front man patsy has been been employed more latterly by the intelligence services with the likes of John Wilkes Boothe, assassin of President Lincoln, Jack the Ripper, Lee Harvey Oswald, patsy of JFK assassination, Timothy McVeigh, Alcohol, Tobacco and Firearms Bureau front man, Osama bin Laden, boggy man terrorist blamed for 9-11 inside job, Moussaoui, mind-controlled fall guy for 9-11, etc.



Shakespeare's Codex

By Timothy Spearman



The Shakespeare authorship has deeply puzzled thinking people for over 400 years. How could a commoner study works in foreign tongues and retell the story in a new language in the process of development? It doesn't make any sense unless he was part of an avante garde movement of the British intelligensia. How could he possibly know the words and spellings of a vocabulary only recently introduced to English by Bacon's Fra Rosy Cross literary society as loan words from Latin and Italian? His caste position alone would deny him entry into this club of peerage and privilege. What if he was a mere front man, so that the real author could hide behind the scenes rather like the beggar dressed up like a lord in the opening scene of "Taming of the Shrew"? "Shakspere" is a far cry from "Shakespeare", a totally different spelling for a totally different man, but a spelling close enough to "Shakespeare" to allow the intelligence operation to succeed in duping successive generations of bard lovers for over 400 years.

The truth is that when the author's name appeared on the first folio of plays it was hyphenated "Shake-speare", proving that it was a pen name employed by some invisible personage. Why the deception? Because the bard was a British agent employed by H.M.S.S. who required a code name to conceal his true identity. Were his identity to be revealed, he would be in danger and many of the personages of the court he was lampooning in his plays would be exposed to the general public's gaze, which would have been a serious threat to national security. So the secret had to be kept and for national security reasons has been kept for 400 years. The code name of British agent Edward de Vere was actually derived from Pallas Athena, the patron goddess of the secret writing society he worked for called The Honourable Order of the Knights of the Helmet also named in honor of Pallas, the Spear-shaker, who always shook her spear at the twin serpents of ignorance and vice and who wore the helmet of invisibility, which rendered her invisible every time she drew the visor down over her face. Initiates of Sir Francis Bacon's secret propaganda ministry would kiss the helmet of Pallas when they joined and subsequently wrote under pen names or anonymously. Bacon would refer to these propagandists as his "team of good pens". The Earl of Oxford was one such very "good pen".

Paul Streitz's book "Oxford: Son of Queen Elizabeth I" recently created quite a stir in the international press for suggesting the author was actually the Queen's son. The Virgin Queen as she was known was not called so for her virtue, but for her occult witchcraft status as the incarnation of the moon goddess Diana otherwise known as Virginia, the virgin huntress and goddess of the moon. She had purportedly carried the child of her stepfather, Thomas Seymour, who impregnated her at the age of 16, forcing her to farm the child out for adoption to the home of the 16th Earl of Oxford to be raised as a changeling child. The secret prince would remain a state secret. A second liaison would occur with Robert Dudley, the Earl of Leicester, when Elizabeth and he were both confined to the Tower by Queen Mary. The product of that liaison would be a second child, whose identity was also concealed as a changeling child of the home of Lord and Lady Bacon. That prodigy would grow up to own one of the most illustrious names and careers in European history as Sir Francis Bacon.

The relationship forged between the half brothers allowed them to work closely on the secret writing fraternities they formed. Bacon and his brother Anthony Bacon would also work closely together, spawning H.M.S.S. through their joint efforts as well as Fra Rosy Cross and The Honourable Order of the Knights of the Helmet. Bacon and his brother Anthony would go on to found most of the intelligence services of the European continent and would set up Masonic and Rosicrucian Lodges throughout Europe. This explains why high-ranking officers in the British and American military and intelligence units tend to belong to secret societies like the Freemasons and Rosicrucians to this day. Promotion within military-intelligence makes Masonic or Rosicrucian affiliation a practical prerequisite.

The most prestigious Shakespeare academic journal known as The Shakespeare Quarterly is located in Washington D.C. and is run by the Folger Gallery, which Paul Streitz exposes as a fraud in his book. The Folger Gallery actually committed a crime against history and scholarship by painting over a portrait purported to be of Edward de Vere that was also said to be a painting of the real Shakespeare. The museum's motivation for perpetrating this crime was to make the bard's cranium conform to the classical notion of what "the bald guy" is actually supposed to have looked like. It is amazing indeed to think that Shakespeare scholarship is actually entrusted to custodians of this kind. Why English departments around the world are not up in arms about this only attests to the fact that something stinks in Denmark.

Some people have asked me how I could seriously believe that Bacon or Oxford wrote the plays when 99% of academia have believed otherwise for 400 years? How could such a deception be orchestrated people ask and why? The answer is really very simple. The Freemasons created and control the university degree system based on the first three degrees of Freemasonry: Entered Apprentice corresponding with Bachelor's Degree, Fellow Craft corresponding with Master's Degree and Master Mason commensurate with Ph.D. Thus, rank within the academic establishment is defined not by the pursuit of truth, but with one's adherence to the fascist and duplicitous aims of the most powerful crime syndicate in the world - Freemasonry. Intellectual prostitutes are of higher degree and gain all the privilege, while genuine philosophers are relegated to the bottom of the social pyramid and denied tenure. Here I am languishing at the bottom of the academic world for espousing truths, but I'm the better man for it I console myself.

Revealing the truth about the authorship of the Shakespeare plays has grave implications for both British and American national security because it exposes the modus operandi of the front man used in so many of their clandestine operations A.K.A. John Wilkes Boothe, front man for the Lincoln assassination, Lee Harvey Oswald patsy for JFK assassination, Timothy McVeigh, front man for the Bureau of Alcohol, Tobacco and Firearms operation to sabotage the Murrah Building in order to destroy the files on the highly reactive vaccinations given to the Gulf War Vets now suffering and dying from Gulf War Syndrome, Osama bin Laden, boggy man for 9/11 inside job for planned second Pearl Harbor, pretext for invasion in oil rich countries of the Middle East, etc. That is why the Shakespeare Quarterly and Folger Gallery are located in Washington, D.C. The hawks in Washington want to keep a very close eye on Shakespeare criticism to ensure that the front man, Will Shakspere, gets all the press, while articles about the Oxford/Bacon connection continue to be suppressed. I leave you with one final question: Why are discoveries and insights like this not seen in popular bestsellers and mainstream news media publications? You may now be able to answer such questions for yourself.

Was the Bard Murdered?

By The Spearman

Edward de Vere, the Earl of Oxford, was a changeling child of Queen Elizabeth and one of the rightful heirs to the throne as a concealed prince. In a ritual undertaken with a Native American shaman in 2005, we contacted our ancestors with the aid of a Native American divination plant called salvia divinorum. After making contact with my inductee’s ancestors, I contacted mine, Edward de Vere, the Earl of Oxford.

He appeared to me in a vision. He was being pursued by some adversary along a fortress wall. I then saw two black stallions silhouetted against the night sky, one in hot pursuit of the other. Upon reaching a meadow, Edward dismounted from his stallion and took flight on foot. I saw him take an arrow in the back and fall face first into the pasture. Two enemies approached from the rear, grabbing him under the armpits. He was dragged to an animal’s water trough, where his head was forced under. I recall feeling his pain as the life was snuffed out of him.

Following this vision, I performed automatic writing in order to corroborate the true circumstances of his death with my own suspicions. I wrote four questions down on a sheet of paper and left space on the right for the spirit’s replies. Replies to these questions appear below to the right of each question as they did on the night when the ritual was held. The reply to the first questions was a definitive “yes” written in a stylized Elizabethan hand. The other replies appear below in sequence:

1. Are you Edward de Vere? yes

2. Did the Masons kill you? masons

3. Why? play

4. How can I avenge the death of Hamlet’s father’s ghost? by writing

My shaman guide noticed that none of the responses were capitalized. He suggested that I combine the words into a single sentence and see what I came up with. He had a sharp eye. As a full sentence, the response read, “Yes, Mason play by writing.” This seemed to answer the most urgent questions: 1) Why had the Masons killed him? And 2) How can I avenge the death of Hamlet’s father’s ghost? It appears that the bard’s last play, “The Tempest,” was the reason for his death. His answer to Question Three verifies that he was killed over a play. “The Tempest” is rich in Freemasonic references, including the attack on Prospero by three ruffians, a symbolic reference to the murder of Hiram Abif, the alleged architect of King Solomon’s Temple. The murder of Hiram is recorded in the Third Degree ritual of Freemasonry and contains and “The Tempest” contains a pointed allusion to this. The sentence “yes, mason play by writing” also answers Question Four pertaining to how I might avenge his death as a writer and researcher. By writing a screenplay, which I may soon be commissioned to write, I may be able to avenge the death of the bard by conveying the truth to the multitudes and by attributing merit where merit is due by granting full credit to Edward Tudor better known as Edward de Vere, Lord of Oxford.

The "mason play by writing" appears to have been the motive for the killing. My suspicion is that he got the truth out about the plot to kill Prospero, i.e. himself (Pro-spear-Oxford or prosper-Oxford) by the Three Unworthy Craftsmen featured in “The Tempest” who attack Prospero with blows to the head (corresponding with the Third Degree of Freemasonry), making off with his manuscripts. It therefore seems that at some point in time, the bard’s more recently penned manuscripts were stolen. This may have been a reconnaissance operation to ascertain the nature of the bard’s work on the Isle of Man, where he was exiled by King James to live out the remaining eleven years of his life, following his official death in 1603. In short, the bard’s work was stolen! At the beginning of “Troilus and Cressida”, we have a prologue, which relates how the author's manuscripts were in the safekeeping of the Grand Possessors. These I take to be a guild of Freemasons under the control of whom? Was it one of brother Francis's organizations: Fra Rosi Cross perhaps? The author appears to have been blowing the whistle on Luciferian Masons through the plays. I strongly suspect that King James was at the head of the Luciferian Masons.

On the occasion of his mock death in 1604, Edward was paid the honour of a state funeral, in which some of his plays were performed as a tribute to him as Lord Chamberlain. Keep in mind that on the occasion of King James' ascension to the throne, Oxford and his concealed son, the Earl of Southampton, were both arrested and confined to the Tower of London. This is no doubt due to the fact that they were perceived as threats to the throne as they had a legitimate claim overriding that of James.

I believe James struck a deal with Oxford around this time. The deal was that he would be allowed to live and continue to exercise his talent as poet laureate from exile on the Isle of Man. This legend is recorded in a book by Oxfordian Peter Sammartino. He would then stage his death and the death certificate would identify the "plague" as the cause. His official death was in 1604, which would make him 53 years of age. According to legend, he would live for an additional 11 years on the Isle of Man, continuing to write his plays for all posterity, which would put his actual death at 1615. There is some dispute over his burial site, some alleging he is buried in Hackney Churchyard, while others maintain he is interred in Westminster Abbey. This dispute results from the fact that he was not buried. In the Henry plays, the author makes repeated allusions to Prince Hal's fear of not being given a proper Christian burial. This is because the Luciferian Masons reserved this punishment as one of their most severe, reserved for those who betray their dark lords.

Following the "contacting ancestors" ritual, I awakened in the middle of the night to a vision some nights later, where I saw Edward's casket on the sea bottom with seaweed dancing in the tide in front of it. The casket lid opened and bright white light came flooding out. This matches the First Degree of Freemasonry in terms of ritual punishment:

All this I most solemnly, sincerely promise and swear, with a firm and steadfast resolution to perform the same, without any mental reservation or secret evasion of mind whatever, binding myself under no less penalty than that of having my throat cut across, my tongue torn out by its roots, and my body buried in the rough sands of the sea, at low-water mark, where the tide ebbs and flows twice in twenty-four hours, should I ever knowingly violate this my Entered Apprentice obligation. So help me God, and keep me steadfast in the due performance of the same.

I am firmly convinced based on mystical and metaphysical evidence presented to the sixth sense superseding my other five that Edward Tudor/Vere was murdered on the Isle of Mersea by Luciferian Masons under the control of the Luciferian King James I and that his body was sunk in the sea at the mouth of a river of the coast of the Isle of Man. I strongly recommend a sea expedition of said coast in search of Edward's remains so that he can be given a proper Christian burial on the occasion of the 400 year anniversary of his death in 2015, when he was assassinated at age 64 by Luciferian Masons for revealing certain untimely secrets in the play “The Tempest”.











Pallas Athena Shakes Her Spear at the Twin Serpents of Ignorance and Vice Shaking a Spear at Ignorance:

A Resolution to the Shakespeare Authorship Problem

By Timothy Spearman



This paper was originally inspired by a discovery the author had made concerning a similarity in the likenesses of the subject featured in the portrait of William Shakespeare by John Taylor and that of Edward de Vere by Marcus Gheeraedts. The conjecture of the author of this paper is that the subject featured in the Taylor portrait of Shakespeare is the same man shown in the Gheeraedts portrait only advanced in age by some fifteen years and therefore with a receding hairline resulting from middle age. The hypothesis is that, having lost caste in the Elizabethan Court for writing subversive plays that failed to meet their sole objective of serving the propaganda aims of the Court in addition to causing other scandals, including an affair with the Queen’s handmaiden, Anne Vavasor, Edward de Vere, the seventeenth Earl of Oxford became increasingly defiant of the establishment, adopting a bohemian lifestyle and dress, growing what was left of his hair long, allowing his courtier goatee and mustache to grow into a full but scruffy beard, while sporting an earring and commoner’s dress.

Further study resulted in the discovery that the author was a Freemason initiated into the Higher Degrees of Freemasonry and a British intelligence operative under the cover of a diplomat, who visited the courts of Europe on several occasions. The life of privilege led by Edward de Vere, seventeenth Earl of Oxford, so dwarfed the life of the mediocrity from Stratford-upon-Avon as to eliminate him altogether from the authorship candidacy. Why, thought the author of this paper, would the Stratford man so clearly support the ideology of caste and privilege, as evidenced by his early plays in particular, when such an ideology disqualified him from upward social mobility? In addition, it did not make any sense whatsoever that he had such a breadth of knowledge gleaned from having participated in aristocratic sports, while studying jurisprudence, medicine, and several languages, in addition to traveling widely, when none of these privileges would be open to the commoner from Stratford. The author of this paper therefore thought to shake his spear at the ignorance of a naïve world blinded by four hundred years of incalculable oversight. The author hopes the findings here presented will sufficiently shake a spear at the serpent of ignorance that he might seek safe haven in the same hole he crawled out of. We also hope, but by no means hold our breath, that the academic world that has been so spitefully unkind to our person will offer a warmer reception to this our “spear-shaking” than it has in the past. It is also hoped that those who gaze upon the countenance of Edward de Vere will have the vision to see the resemblance in the two portraits this study has herein brought to the world’s attention.

What’s in a name? In the name “William Shakespeare”, there is a great deal. One would assume then that, as a name of great import, the author would at least endeavor to adopt a uniform spelling of his name and a uniform signature to go with it. Yet, of the six signatures found attached to documents ascribed to the man from Stratford, each displays a different spelling and style of handwriting. Why would this be when literate men of the sixteenth and seventeenth centuries developed personalized signatures just as people do today? As evidenced by the signatures extant, the man from Stratford whose name was most commonly spelled Shakspere seems not to have developed a consistent signature. 1 Baptized Gulielmus Shakespere, he would go on to be known in other documents by William Shaxpere, William Shackespere, Willelmus Shackspere, William Shackspere, William Shakespeare of orthodox spelling, William Shackspeare, Willelmus Shakespeare, Willelmum Shakespeare, Willielmi Shakespeare, Willelmus Shackspere, Willelmus Shakspeare, Wyllyam Shaxpere, Mr. Shakespere, etc. These names appear on records ascribed to the man known by the name most commonly spelled William Shakspere from Stratford-Upon-Avon. It makes no sense whatsoever that a man of such importance would not endeavor to standardize the spelling of his name as well as his own signature for simple purposes of identification if nothing else. Indeed, the fact that there seems to have been no effort on the part of the Stratford man to do so is where a good part of the confusion rests and has contributed in no small degree to the authorship problem itself. Some of the scholars who examined these records initially decided that some of these documents belong in the biography of some other man of that name. Scholar Sydney Lee, for example, concluded Anne Whately became engaged to another of the numerous “Shakespeares” who then abounded in the diocese of Worcester. Then, in two articles entitled “Other William Shakespeares,” Charles William Wallace established that one of the documents pertaining to malt sales should be reassigned to a man other than the Stratford man. 2 So the already scant record on the Stratford man, a record showing no evidence of any literary life, may be reduced still further by the fact that many of the “Shakespeares” referred to under different spellings in diverse documents may in fact be different men. The question that immediately springs to mind is why is the record so blank on William Shakspere of Stratford? Why is there such abject poverty in terms of documentation, including written records, letters, manuscript materials, etc.? Bear in mind that the question is asked of the man deemed to be the greatest author of English letters. How can this be, when significantly more documentation has been found on contemporaries of lesser note such as Ben Jonson and Michael Drayton? Michael Drayton, a much less revered contemporary and fellow poet from the same town, has exactly the kind of documentation associated with him one would expect to find in the great bard’s record, including letters, direct references to works, a brief description of his physical appearance, evidence of revision and polishing of his works, evidence of attending educational institutions, etc. Why the comparative destitution in the Stratford man’s record? And why is there no surviving evidence that these two famous poets from the same town had known each other or even met? 3

We might just as well ask: What’s in a face? The sheer abundance of disparate visages appearing in engravings and paintings of the bard indicate that hardly anyone seems to have had a clear impression of what the man actually looked like. In the opinion of the author of this paper, there is only one true likeness of the author of the plays and sonnets, and that is the portrait of Shakespeare painted by John Taylor circa 1610. While the painting by Taylor has been given the date 1610, this date must be erroneous since the subject of the painting, Edward de Vere, died in 1604. While many will be surprised by this claim, since the Stratford man is known to have died in 1616, I contend that it is not the Stratford man who is the subject of the Taylor portrait. The subject is indeed the man posterity knows as William Shakespeare, but that man is not from Stratford-Upon-Avon, nor was his real name William Shakespeare. The portrait is in fact a likeness of Edward de Vere, the seventeenth Earl of Oxford, who wrote the plays under the pen name, William Shakespeare. The man shown in the Taylor portrait bears a striking resemblance to a well-known portrait of Edward de Vere painted by the Dutch painter Marcus Gheeraedts. An approximate date for the Gheeraedts’ portrait is given as 1586. The marked difference of course is the fact that the man appearing in the Taylor portrait is bald, while the portrait of de Vere shows a man with a full head of hair. The reason for this is that the subject in the Taylor portrait is some fifteen years older and has gone bald with advancing years, while the de Vere portrait depicts the same man in his prime and with a full head of hair. The subject featured in the Taylor portrait is in fact the same man shown in the de Vere portrait only fourteen to fifteen years older, since the de Vere portrait shows the same man at approximately 36 years of age, since an approximate date of 1586 has been given to the painting. The author of this paper believes the Taylor portrait depicts de Vere at approximately fifty years of age, four years before his death in 1604. The dating of the Taylor portrait would, therefore, have to be reassigned to circa 1600, ten years earlier than that assigned by orthodoxy. Included in this paper is a composite photo comparison of the subjects featured in the two paintings. Both the aging process and unkempt appearance is eliminated in the painting of the bard with the aid of Photoshop, restoring his full head of hair, while eliminating his earring and long hair. Before and after photo analysis reveals that the middle-aged bard bears a striking resemblance to Edward de Vere featured at the age of 36, suggesting that Edward de Vere, the Earl of Oxford, is the bard writing under the pen name William Shakespeare. (See the accompanying composite portrait comparisons of before and after likenesses).

The authorship controversy has not been helped by the fact that irresponsible researchers have deliberately misled lay people and scholars alike by making grossly erroneous claims. Perhaps the best example of this is Gareth and Barbara Lloyd Evans’s grievously errant contention in their Companion to Shakespeare:



We no more about the life of Shakespeare, both in

terms of facts and of rational conclusions that they

suggest, than of any other Elizabethan dramatist…

Documents relating to Shakespeare’s activities,

including letters to him and material relating to

his family, are extant in quantity in the Shakespeare

Centre records office at Stratford upon Avon. 4



Note that the Evans’s tell us that there are many “letters” extant to Shakespeare, that is “letters” in the plural, misleadingly implying that there are many such letters extant. The truth is, however, that there is only one letter on record addressed to William Shakspere, the man from Stratford, and it was never delivered. 5 How can so-called scholars mislead the public so irresponsibly? No wonder the authorship question has never been adequately resolved. With such gross distortions of the actual facts, many of the misinformed are discouraged from even embarking on the quest for the true author due to the erroneous weight of evidence tilting the balancing scales in favor of orthodoxy.

The surname “Shakespeare,” it should be noted, appears as the hyphenated name, “Shake-speare,” in the dedications to Venus and Adonis and Lucrece. Of the thirty editions of the Shakespeare plays published before the First Folio of 1623, in which authorial attribution was given, the name appeared hyphenated in fifteen of these cases. This suggests that the name is of the order of a sobriquet or nom de plume. The only legitimate case for hyphenating an Anglo-Saxon name would be in the case of two noble families brought together through the bonds of marriage and who wished to retain their family peerage mutually by preserving both names in a hyphenated surname, but in such cases, the family name appearing after the hyphen would be capitalized. The “speare” in “Shake-speare” is most definitely not capitalized, leaving little doubt that it is pseudonymous. 6

What’s in such a name? If a dramatist were to assign himself a pen name, would it not be apropos to take on a name that canonized him as a dramatist in some kind of homage to his art form? True, he would be under no obligation or compunction to do so. Still, it would be no less fitting. This being the case, it will constitute no shock to learn that the name “Shake-speare” or “Shakespeare” is derived from Pallas Athena, patron goddess of the Greek theater in Athens, who was nicknamed “Hasti-Vibrans” in Latin, meaning the “Spear-shaker”. The reason assigned to the sobriquet for both the goddess and the bard is that Pallas was known for shaking her spear at the serpent of ignorance and vice. 7 In Greek mythology, Pallas Athena was the goddess of wisdom, philosophy, poetry, and the fine arts. Her original name was Pallas…from palein, meaning ‘shake’. Athens, the home of Greek drama, was under the guardianship of Pallas, the spear-shaker. The phrase, “The spear of Pallas shake,” can be read in a line of verse from a collection of Shakespeare’s poems of 1640. 8

Pallas always shook her spear at ignorance, which is what the poet himself is doing, shaking his spear at the ignorant mass of humanity for believing the ridiculous ruse that an ignorant rustic from the country could be a claimant to the throne of the immortal bard, this a mere stand-in, substitute, or understudy brought in to play the part of the bard so that the true author could remain behind the scenes hidden from view. Pallas Athena also wore the “helmet of invisibility,” which rendered her invisible each time she drew the visor down over her face. The bard is, therefore, wearing Pallas’s helmet of invisibility, as his true identity is concealed behind a mask or visor. Ben Jonson recognized the true significance of the sobriquet when he wrote of Shakespeare’s “true-filled lines,” that “In each of which, he seems to shake a lance, /As brandished in the eyes of ignorance.” 9 How did Jonson know about the Pallas Athena connection unless he was in on the plot? Gabriel Harvey, a fellow at Trinity College, Cambridge, in an address to the queen during one of her visits to the university, paid tribute to Oxford as a prolific poet, and one whose “countenance shakes spears.” 10 Why the strange reference to the Shakespeare-Pallas Athena sobriquet once again?

Why was the Bard so inspired by Pallas Athena that he chose to adopt her nickname? From whence did this influence arise? It is known that, while studying law at Gray’s Inn, the young Francis Bacon formed there a secret literary society called “The Honourable Order of the Knights of the Helmet”. The “Helmet of the Order” was of course the helmet of Pallas Athena, the helmet that occulted her and rendered her invisible. She was Francis Bacon’s patron goddess since his early experience with the French Academie on the Continent whose patron was Pallas Minerva, the same goddess under her Roman designation. The candidate for initiation within the order swore allegiance to Pallas Athena and to uphold her ideals, banishing the serpent of ignorance to the remotest corners of the civilized world in order to spawn an age of enlightenment and a literary renaissance capable of enlightening the world. The initiate would then kiss the helmet, after which it was placed on his head. Just as the Helmet of Pallas was said to make the wearer invisible, so the initiate would become an invisible of Bacon’s invisible college or mystery school and secret literary society. In his right hand simultaneously was placed the spear of Pallas, which he was sworn to shake with valor at all the serpents of ignorance and vice to be found in the world. 11 The author of the Shakespeare plays, who the author of this paper believes was Edward de Vere, would have worn the helmet of one of Bacon’s ‘invisibles’ within the Order and would have been sworn to write in secrecy. Given the political import of many of the plays including, Hamlet, Othello, and Macbeth, the author would have been forced to write under a pen name and to conceal his authorship. The Shakespeare Sonnets would also have to have been written under a pseudonym since they contained the story of the author’s invisible or secret life.

The visor of invisibility Pallas Athena drew down over her helmet to render herself invisible makes sense of an otherwise obscure scene from Act V, scene I of Henry the Fourth, Part Two, in which Davy speaks of one William Visor to his master Justice Shallow, a name of obvious allegorical import, “I beseech you, sir, to countenance William Visor of Woncot…” (Henry IV, Part II in Shakespeare’s Complete Works, Collins Classics, V.I, ll.38, 39) To this entreaty, Shallow replies, “There is many complaints, Davy, against that Visor. That Visor is an arrant knave, on my knowledge.” (V.I.ll.40-42) “Woncot” is a probable allusion to Wincot. Wincot is where Will Shakspere’s uncle and aunt lived and is clearly a name of Warwickshire designation. The gratuitous exchange has no relevance to the play and makes no sense at all unless it is to point to Will Shakspere of Stratford as the “visor” of Pallas Athena’s helmet behind which the true author of the plays may remain obscured. 12 In other words, Will Shakspere from Stratford is the front man behind which the true author, Edward de Vere, can conceal his identity as the bard out of political and social necessity. To substantiate the point, the Earl of Oxford’s wife died in 1612. In her will, she stipulated that a certain sum be laid aside as a provision “to my dombe man.” Was this the continuance of an allowance to be paid to the Stratford man, Will Shakesper, to continue in his capacity as the front man? 13 He certainly was mute in terms of composition and functioned as a kind of “dummy” of the real bard, a mere stand-in or double.

Alfred Dodd believes that Bacon wrote under many masks including, Thomas Nashe, Thomas Watson, Robert Greene, and John Lyly. In fact, amazingly, if it can be believed, Dodd claims that even Edmund Spenser was a mask employed by Bacon to conceal his authorship. According to Dodd, it was in July 1580 that a clerk, who worked for the Earl of Leicester, named Edmund Spenser, left to take up a job in Ireland. Before he left, Francis paid him for the use of his name in the publication of certain writings. 14 According to Dodd, John Lyly is just one of the masks under which Francis Bacon wrote secretly. Using the initials I.L., since the author of John Lyly’s work often signed himself Ihon Lillie, the author wrote a commemorative poem about Edward de Vere. It must be remembered that it was common practice in the age of Elizabeth for authors to suppress their names and substitute initials or a pen name. 15 This probably resulted from the fact that Elizabeth had enforced such strict censorship laws and mete out such severe penalties on violators. The author of the poem here in question attributes the valor Edward de Vere exhibited in the naval battle against the Spanish Armada to the inspiration provided by his patron goddess, Pallas, whom he refers to by name:



De Vere, whose fame and loyalty hath pierced

The Tuscan clime, and through the Belgike lands

By winged Fame for valour is rehearsed,

Like warlike Mars upon the hatches stands,

His tusked Boar ’gan foam for inward ire,

While Pallas filled his breast with warlike fire. 16



It seems rather odd that Pallas Athena, patron goddess of the Greek theater in Athens and goddess of wisdom sprung from the brow of Zeus, should be placed on board Edward de Vere’s ship at the time of battle. One could imagine the goddess of war or some other goddess being at his beck. Why of all goddesses it should be the goddess of the Greek theater inspiring him in time of battle is extremely odd, unless of course Lyly, or Bacon, if indeed Lyly was a Baconian mask, knew Pallas was de Vere’s patron goddess. If de Vere’s patron goddess was Pallas Athena, then it would not be surprising for him to borrow her attributes, since it was custom for noblemen to employ pen names to conceal their authorship at this time anyway. It must be remembered that the nobility seldom attached their names to works of poetry and especially dramatic works, as it was considered beneath their dignity to publish lines of verse or plays.

Why would Edward de Vere employ a pen name? Recourse to pen names and anonymous authorship by men of noble rank is not unique to Elizabethan England. Precisely the same practice was employed by the nobility in diverse cultural milieu. In Korea, for example, two classical operatic works were composed anonymously by persons of the noble class, Shimjong Jeon and Chung-hyang Jeon, and for precisely the same reasons. Gentleman of rank in the Choson Dynasty were forbidden to attach their names to dramatic works and works of poetry. It will come as no surprise then that the same practice was adhered to in another feudal society halfway around the world at the time of Queen Elizabeth. Any nobleman writing poetry for publication or dramatic works for the theater would have lost caste immediately.

The threat of losing caste was so real for the author of the Shakespeare plays that it is even alluded to in a poem by John Davies, a contemporary, appearing in the Stationer’s register of 1610. What becomes abundantly clear is that the entire poem is written in the past tense, which suggests that its import is addressed to a poet already dead. Edward de Vere was of course already dead in 1610. He is known to have died in 1604 in fact. Will Shakspere of Stratford, however, would not be referred to in the past tense in 1610, as he still had six more years of life to live. The other thing to notice about the Davies’ poem is the fact that the Will. Shakespeare referred to is most definitely of the noble class, which the Stratford man was most definitely not, and has lost his noble rank as a consequence of his having performed in his own plays, a definite no-no for a nobleman:



To our English Terence, Master Will. Shake-speare.

Some say (good Will) which I, in sport, do sing,

Hadst thou not played some Kingly parts in sport,

Thou hadst been a companion for a King;

And been a King among the meaner sort.

Some others rail; but, rail as they think fit,

Thou hast no railing, but, a reigning Wit:

And honestly thou sowst, which they do reap;

So, to increase their stock which they do keep. 17



The import of the poem is that “Shake-speare”, the name once again appearing hyphenated, indicating it is pseudonymous, is a nobleman who lost rank by performing on the stage. So addicted was he to the stage that he would take to the stage secretly under his pen name, but was probably recognized by the Queen’s omniscient ‘Gestapo’ or secret service and reported. “Thou would have been a companion for a King,” is an allusion to his status as an earl. The title “count”, being equivalent to “earl” in the English caste system, is in fact designated as a “companion to the King” in terms of peerage. “And been a King among the meaner sort” refers to the fact that de Vere had played kingly parts for the theater, which would in fact be seen as “a meaner sort of King”, since the theater was considered low and common. There is in fact a well-known portrait of Edward de Vere extant showing him in costume as King Henry. The last two lines of the poem indicate that the bard labors without gain, since others profit from his work. The implication seems to be that certain individuals reap the benefits of his work and keep the profits for themselves. At the same time that a nobleman who has lost caste is implied, so an allusion is also made to the man from Stratford known as Will Shakspere. The clue for this occurs in the allusion to “our English Terence”. The English Terence refers to the Roman poet Terence, a slave who became a free man and a well-known poet. The man summoned from Stratford to act as the front man and to double as the bard, in order that the true author could conceal his authorship of the plays is here implied. 18

To corroborate the above account, where a tribute is given to an author already dead, when the man from Stratford is still living, we have the first edition of the sonnets published in 1609 under the title, Shake-speares Sonnets. Once more the name appears hyphenated implying a pen name, but there is something else this time. This kind of locution is usually reserved for one who is already dead. The byline should read, “By William Shake-speare” for a living author. Then, there is the text of the dedication, which refers to “our ever-living poet.” Implying once again that the author is no longer living. “Ever-living” is used in memorials to signal the fact that someone dead lives on in the memory of the living. 19

Is the Elizabethan social ethos and the question of caste the only issue? Are there other reasons for adopting a pen name? The author of this paper would like to suggest that there is. Edward de Vere would have a rather good reason for adopting a code name were he a spy or agent of the British Crown. And the evidence strongly supports the fact that he was. The most convincing piece of evidence for his status as a secret agent can be found in a Privy Seal Warrant issued by the Queen on June 26, 1586. The warrant calls for a grant to be issued to the Earl to the tune of 1,000 pounds a year, a sizeable sum equivalent in today’s terms to three times the Prime Minister’s salary. The reason for the grant is not given, but what is abundantly clear is that the Queen issues instructions at the end of the letter that no accounting for the expenditure is required by the Exchequer, standard practice in the case of secret service money:



Elizabeth, etc., to the Treasurer and Chamberlains

of our Exchequer, Greeting. We will and command

you of Our treasure being and remaining from time

to time within the receipt of Our exchequer, to

deliver and pay, or cause to be delivered and paid,

unto Our right trusty and well beloved Cousin the

Earl of Oxford or to his assigns sufficiently

Authorized by him, the sum of One Thousand

Pounds good and lawful money of England. The

same to be yearly delivered and paid unto Our

said Cousin at four times of the year by even

portions: and so to be continued unto him during

Our pleasure, or until such time as he shall be by

Us otherwise provided for to be in some manner

relieved; at what time Our pleasure is that this

payment of One Thousand Pounds yearly to our

said Cousin in manner above specified shall cease.

And for the same or any part thereof, Our further

will and commandment is that neither the said Earl

nor his assigns nor his or their executors nor any

of them shall by way of account, imprest, or any

other way whatsoever be charged towards Us,

our heirs or successors. And these shall be your

sufficient warrant and discharge in that behalf. 20



What the last two sentences mean is that no accounting of expenditures implied by the grant are to be required by the Exchequer, which is tantamount to saying that the transaction is secret and classified. The scholar B.M. Ward claims that this is the usual formula followed in the case of secret service money. The Earl had no known office other than his place on the Privy Council, so there is no good reason for the payment in terms of official function or capacity. There is no evidence of any official assignment calling for such an annuity. The Earl never left the country following the issuing of the grant which he received beginning in 1586 when he was 36 until the time of his death in 1604 at the age of 54. 21

For so large an amount to be paid out of the secret service fund, it had to have been used for purposes of state, Dorothy and Charlton Ogburn arguing that it was used for England’s first Ministry of Propaganda. The purpose of the propaganda ministry would be to educate the English people, most of whom could not read, through a medium of education analogous to today’s Hollywood, opening their eyes to the world around them, while acquainting them with a revisionist history that would have them bursting with pride. And while the state was busily taking charge of the theater for purposes of state propaganda, it was simultaneously clamping down on the printing presses, the Queen authorizing Archbishop Whitgit and the Privy Council to draft legislation to strictly regulate them. A Star Chamber decree was duly authorized on June 23, 1586 calling for stricter governance over the printing press, with a list of pains and penalties for violations of the censorship laws. No publication could be released without first receiving approval from the Archbishop of London. The success of the Queen’s Propaganda Ministry cannot be underestimated for its power to instruct the uneducated masses on their history, enlightening them on their place, and furnishing them with so thorough a knowledge of rewards and punishments they would have known what would invite praise and censure. A more vivid description of the state propaganda apparatus the theater guilds served could not be found than Thomas Heywood’s aptly named Apology for Actors, which is none other than an apology for the theater arts being held subordinate to the state to which the performers themselves had been held ransom:



Plays have made the ignorant more apprehensive,

taught the unlearned the knowledge of many

famous histories, instructed such as cannot read

in the discovery of all our English chronicles;

and what men have you now of that weak

capacity that cannot discourse of any notable

thing recorded even from William the Conqueror,

nay from the landing of Brute, until this day?

Being possessed of their use, for or because

plays are writ with this aim, and carried with

this method, to teach their subjects obedience to

their king, to show people the untimely ends of

such as have moved tumults, commotions, and

insurrections, to present them with the

flourishing estate of such as live in obedience,

exhorting them to allegiance, dehorting them

from all traitorous and felonious stratagems. 22



Is it mere coincidence that history plays remained in vogue from 1586 until the conclusion of the Anglo-Spanish war? Chronicle plays were very popular, the pseudonymous author Shakespeare, Marlowe, and others writing several, many of which were original, but some of which Oxford apparently permitted his apprentices to revise and reshape. At the cessation of the war, the demand for such plays from the state and the appetite for them from a people weary of war dried up. Considering how scarce money was at the time, and how careful the Queen had to be with funds in providing for the war effort, it is clear that, if not the Queen, the state apparatus, had to be sufficiently pleased with the propaganda produced for the Elizabethan stage to maintain Lord Oxford’s annuity until the time of his death.

Why would the Earl receive such an annuity? If he is not being paid for his official duties, what is the reason for so exorbitant a salary? Is he being paid for covert operations of some kind? Once again, the evidence would support such a hypothesis. Christopher Marlowe and Ben Jonson both faced prosecution for libelous and blasphemous allusions made in their plays, great risks for commoners to take without protection from higher personages, institutions or organizations. In May 1593, the Star Chamber prosecuted Christopher Marlowe for “lewd libels” and “blasphemes”. Certain papers of Thomas Kyd were found keeping company with Marlowe’s manuscripts. Testifying under duress on the rack, Kyd protested that, “My first acquaintance with this Marlowe rose upon his bearing name to serve my Lord, although his Lordship never knew his service, but in writing for his players.” It is one of the most tantalizing mysteries in the Marlovian biography question that Kyd omits to identify the mysterious lord of whose household he had been a member for nearly six years. Six years places Kyd in the services of the mysterious lord back to the end of 1587, from his time of arrest in 1593. The Spanish Tragedy attributed to Kyd on the strength of a single reference is assigned by scholar Edmund Gosse to the period 1584 to 1586. Researcher E. T. Clark believes that the mysterious lord under whose supervision Kyd worked for six years, and for whose players Marlowe wrote, was none other than Lord Oxford. It is more likely to have been Sir Francis Bacon, since the author of this paper believes that both Kyd and Oxford were working under Bacon as ‘invisibles’ in his secret literary societies, which in essence were employed as compartments within the state propaganda apparatus. The period of Kyd’s employment nevertheless coincides with the period in which Oxford’s annuity of 1,000 pounds commences. 23 It also happens to coincide with King Philip II of Spain’s rage over the manner in which he was portrayed on the Elizabethan stage. The Venetian ambassador of Spain even reported on King Philip’s complaints concerning the Elizabethan stage to the Signory:



But what has enraged him much more than

all else, and has caused him to show a

resentment such as he has never displayed

in all his life, is the account of the

masquerades an comedies which the Queen

of England orders to be acted at his expense. 24



What King Philip’s complaint, as related by the Spanish ambassador, makes explicit is the fact that the plays had some effect in rousing a reaction from the foreign courts. It is at this time that we begin to hear about the so-called “university wits”. Researcher E. T. Clark believes that Oxford’s apprentices turned out dozens of plays under his supervision, including chronicle plays, revenge plays, Senecan plays, most of them conceived to sustain the people’s morale during wartime. Since his early twenties, Oxford had served as a patron for other writers, so it was easy for him to slip into his new role as the master of young propaganda initiates. 25 Clark maintains that Oxford turned to recent graduates of Cambridge and Oxford, and even to those at the point of graduating, who showed promise as writers, to assist in the task of writing state propaganda for the stage. Clark also contends that it was Oxford who discovered Marlowe’s dramatic gifts, encouraging him to write Tamburlaine to portray as a ruthless conqueror the personage of King Philip. 27

According to the great Baconian scholar, Alfred Dodd, in 1579 and by 1580, Sir Francis Bacon had founded the secret literary societies Fra Rosi Cross and The Honourable Knights of the Helmet, the latter named in honor of his patron goddess Pallas Athena who always whore the ‘helmet of invisibility’. This was all part of Bacon’s effort to achieve “The Universal Reformation” or English Renaissance in literature. Fra Rosi Cross and The Honourable Knights of the Helmet were invisible colleges or mystery schools, whose initiates wore Pallas Athena’s helmet of invisibility and were known as ‘invisibles’. The founding of these societies began at Gray’s Inn law school, the Grand Patriarchs of the orders being Bacon’s personal friends such as Gabriel Harvey, his old literary professor, and Fulke Greville, a well-known poet. Bacon’s cousin, Sir Philip Sydney, and Sydney’s sister, Lady Mary, Countess of Pembroke, would also be on the planning committee. And according to Alfred Dodd, “He would have the warm support of Edward de Vere, Earl of Oxford, also a poet.” 28 Was Oxford a poet or a concealed poet, one of the invisibles? Dodd has provided strong evidence that Oxford and Bacon were associates and that he was even in on the planning of these invisible literary societies? Was he also a member? It is very likely. He was referred to as a poet and playwright and yet he stopped writing poetry at least under his own name at a very young age, while strangely none of his plays survive under his own name.

Kid, Jonson, Marlowe, Lord Oxford as Shakespeare and others were working together as a syndicate of writers under the patronage of Sir Francis Bacon, whose source of funding came from the Queen, which is one explanation for the great flowering that occurred in Elizabethan drama and the unity of style found among the major playwrights of the time. Similarities found between the Shakespearean and Marlovian works, which have hitherto been explained away by charges of plagiarism and even the speculation that Marlowe was covertly writing the Shakespeare plays following a staged death in a tavern brawl, can now find a more logical explanation. What is more likely is that the similarities in styles found among the playwrights resulted from them working closely together as part of the same secret literary society and propaganda ministry, writing and sometimes sharing plays to meet deadlines assigned to them either by Bacon’s propaganda ministry or the Court. Similarities found between Shakespeare’s early historical dramas and Marlowe’s Edward the Second, published in 1594 as Marlowe’s, which orthodoxy acknowledges as proof of the greater author’s debt to the lesser, can instead be explained by the reverse scenario, in which Marlowe, as a initiated member of Fra Rosi Cross, is apprenticing under de Vere, the author known to posterity as William Shakespeare. What is more likely than Shakespeare being the plagiarist of the inferior dramatist’s work is that de Vere turned one of his own early plays over in draft form to his apprentice Marlowe to complete, perhaps in order to meet some pressing deadline assigned by their patron Sir Francis Bacon or the court. 29

Othello would have been one of the plays that caused King Philip such strong offense. “Moor” was a racial slur for Spaniard at this time, and as the murderer of Brabanto’s daughter, Othello would have seen himself reflected in the Moor, since he was rumored to have arranged the murders of his third wife, Elizabeth of Valois and the Princess of Eboli, claimed to have been his mistress. With the production of Marlowe’s Tamburlaine probably launched a year later in 1587, Philip probably would have been further slighted. Envisioning himself as the master of land and sea, Tamburlaine boasts:



Even from Persepolis to Mexico

And thence unto the Straits of Jubalter,

Where they shall meet and join their force in one,

Keeping in awe the Bay of Portingale,

And all the ocean by the British shore;

And by this means I’ll win the world at last. 30



Small wonder that the Spanish King would be so put out by the way he was represented on the Elizabethan stage. Why it should come as any surprise to anyone that the plays should be used for state propaganda is truly amazing. We have to remember that a feudal system existed at this time in which each lord served an overlord. No man was free. To exhibit the kind of genius shown by Edward de Vere would have been more of a curse than a blessing. His talents would have been most certainly seized upon and used on behalf of the Queen, the Court and the state. Why should it be any surprise that Jonson, Marlowe, and the man posterity knows as Shakespeare were writing state propaganda on behalf of the crown? Is not the same the case today with Hollywood writers turning out state propaganda on behalf of the American government? Just as the English nobility are depicted as the bastion of heroism in the Shakespeare plays, so is the American hero a star shining with unrivalled brilliance in the firmament, witness Air Force One or Impact, both of which feature hero presidents. Examine any of the films starring Clint Eastwood, Sylvester Stalone, Harrison Ford, and innumerable others in which the American maverick is the model hero. Just as the author of the Shakespeare plays shows the English aristocracy as a caste that will set the nation to rights even when “the times are out of joint,” so now is the American elite seen as the bastion of righteousness which will set to rights even the most corrupt and untoward of governments, witness Mr. Smith Goes to Washington, JFK, All the President’s Men, and Amistad to name but a few.

How would Lord Oxford have been selected for such an assignment? We have established that he worked for the British secret service. But can we establish under whose command he was assigned? We do know that Sir Francis Bacon and his brother Anthony were the founders of the British secret service. We know that both Francis Bacon and Edward de Vere studied law at Gray’s Inn, one of the Inns of Court. We also know that Love’s Labor’s Lost and A Comedy of Errors were performed there for the first time at the Hall of Gray’s, the dining hall of the Inn of Court in 1594. 31 What is certain beyond doubt is that Will Shakspere of Stratford-Upon-Avon did not and could not have studied at Gray’s Inn even if he wanted to because he was not of the noble class. It is even claimed that Bacon delighted in the theater and even performed masks himself, which he staged at Gray’s Inn. Could this have been under the inspiration of the Earl of Oxford? Could it be that having witnessed the poetic gifts of the dramatist for himself, Bacon later thought to put them to good use for the sake of nation building? While Freemason scholars and other researchers have long promoted Bacon as the author of the Shakespeare plays, surviving titles of plays known to be Baconian resemble the titles of none of the Shakespeare plays:



The Birth of Merlin, 1589,

The Misfortunes of Arthur, 1587,

The Lord Mayor’s Pagaent, 29th

of October, 1591,

A Conference of Pleasure, 1592,

The Order of the Helmet or the Prince

of Purpool, 1594-5,

The Device of the Indian Prince, 1595 32



These titles dated within the same time frame in which the Shakespeare plays were being performed, often under the same titles in which they appear in the Folio, lack the sophistication and playfulness of the Shakespeare titles. And in the Device of the Indian Prince, a sonnet of Bacon’s preserved from the play shows that his verse falls fall short of the grace of the Bard:



Seated between the Old World and the New,

A land there is no other Land may touch,

Where reigns a Queen in Peace and Honour true,

Stories or Fables do describe no such.

Never did Atlas such a Burden bear,

As she in holding up the World Oppressed;

Supplying with her virtue everywhere

Weakness of Friends, Errors of Servants best.

No Nation breeds a warmer Blood for War,

And yet she calms them by Her Majesty;

No Age hath ever Wits refined so far,

And yet she calms them by her Policy;

To Her THY SON must make his SACRIFICE

If he will have the morning of his Eyes . 33



Anyone who thinks that this is up to Shakespearean standard is either tone deaf, blind or lacking in aesthetic taste because this is simply bad verse and could not possibly be written by the same hand that penned the immortal lines written by the Bard. A great deal of similarity, however, has been found between Oxford’s early verse, penned under his own name, and Shakespeare’s. The Benezet test devised by Professor Louis P. Benezet is a good example of how many of the stylistic devices and language used by de Vere is identical to that of Shakespeare. The Benezet test, which juxtaposes de Vere’s early lines of verse with Shakespeare’s, has defied the efforts of numerous scholars to identify which lines are Oxford’s and which Shakespeare’s. 34

Other clandestine operations were going on at this time. Why is a propaganda ministry run by the secret service outside the realm of possibility? Not only was the English language canonized at this time, but the greatest literary works in the language were also being undertaken. Not only that, but the knowledge and wisdom of the classical writers, the histories of great nations, and practically everything else worth knowing from foreign countries was imported into the English language at this time. Books were printed and published on every art and science imaginable. In addition, the names on the title pages of these works are totally unknown. It is bewildering that so many men could be put to work on one arcane subject for the task of translating one book and one book only and to then disappear into the same obscure cloud from which they sprang. 35 This suggests that they were under hire of the intelligence service just as readers and researchers are called in by the CIA today. It suggests a large clandestine operation designed to plunder the coveted secrets of the Continent as part of an orchestrated effort to import the Renaissance from the Continent. Revealingly, many of the books published during the period 1576 to 1598 are dedicated to the Queen, the Earl of Leicester, and Lord Burghley. Leicester was the Queen’s lover and Burghley, the Queen’s Chancellor. Together they constituted the most powerful triumvirate in the country. Bacon’s intelligence service would naturally depend on funding from these personages in return for which the commissioned volumes would be dedicated to the benefactors. 36 What is even more revealing from the intelligence service end of things is that Bacon oversaw the writing of many books in this period. He even supervised the printing process using his own wooden blocks, many of his own design, and each book under his direction was marked with such blocks, suggesting that he himself was acting as the national censor, ensuring on behalf of the Crown that every book published was politically correct. 37

What is certain is that de Vere had the intelligence-gathering skills required for the job. He had visited the foreign courts, where he had been dispatched as a diplomat. What is said of Bertram in All’s Well That Ends Well, where he is told, “You have sold your own lands to see other lands,” could equally be said of the Earl, who did appeal to Lord Burghley in a letter to do the very same by agreeing to pay for his expenses abroad. Oxford traveled widely on the Continent. 38 He is known to have visited France and Italy with certainty. The fact that he was granted official permission to travel in 1575 implies that he was both eminent and trusted, since it was difficult at this time for anyone to get permission to travel. The fact that his visit to the Continent was given the official seal of approval and that he was permitted to travel widely to Paris, Strasburg, Padua, Venice, Florence, and Sicily suggests that he was on official business probably on behalf of the Crown and that it constituted a diplomatic mission. The fact that he was recalled in 1576 pushes the case for a diplomat on official business, since his itinerary was being monitored and his person was valued enough to be dispatched and recalled. 39 He was even known as the Italianate Englishman due to his tendency to wear the fashion of Renaissance Italy in the Court. He was also strongly influenced by Ovid, Particularly Ovid’s Metamorphosis, and was even referred to as the English Ovid. Oxford did travel in Italy extensively. He traveled with a retinue, according to Lord Burghley of eight people, including two gentlemen, two grooms, one payend (a dispursor of funds), a harbinger (someone who goes ahead to make arrangements), a housekeeper, and a trencherman (a cook). The author of the Shakespeare plays was clearly well acquainted with Italy and its cities. Professor Ernesto Grillo notes that Italy herself is mentioned some 800 times in the plays, while her cities are mentioned severally, Rome 400 times, Venice 52, Naples 34, Milan 25, Florence 23, Padua 22, And Veronas 20. Genoa, Mantua, Pisa, Ferrera and other cities are also mentioned frequently. 40 In addition, it is evident that the avant-garde Italianate theatrical form, commedia dell’arte is particularly in evidence in plays like Love’s Labour’s Lost. It was a form of comedy in which the plot was written out, but the dialogue improvised on the stage. George Lyman Kittredge holds the opinion that Shakespeare’s precise descriptions of scenes, laws, and customs spring from firsthand experience. 41

In addition, there is the massive influence Italian and Roman authors exerted on the bard. Measure for Measure is influenced by the sixteenth century writer Giovambattista Cinzio; The Merchant of Venice is inspired by Il Pecorone of Florentino, 1588; A Midsummer Night’s Dream must credit Ovid’s Metamorphosis as its muse. (And let us not forget that Oxford worked on the translation of Ovid’s Metamorphosis personally with his uncle Arthur Golding when still a boy); Much Ado About Nothing owes a debt to Matteo Bandello, a fifteen century writer of novellas or tales; The Taming of the Shrew is based on Arioto’s I Suppositi; and the basic plot of All’s Well That Ends Well is drawn from the ninth novella of the third day of Boccaccio’s Decameron. 42 Then there is the fact that Shakespeare has borrowed so many loan words from the Latin. Alfred Hart credits Shakespeare with employing a vocabulary of 17,677 words, twice that of Milton and two and a half times that of Marlowe. So dexterous was he with words that he was able to employ 7,200 words, more than occur in the King James’ version of the Bible. Lewis Theobold credits him with the massive suffusion of Latin words into English. So immense was the rhetoric of the Italian Renaissance that it amazes even modern researchers, and so great a master was Shakespeare of this rhetoric that he introduced the vocabulary and syntax of the Italian Renaissance to England. Even the sonnets are modeled on the Petrarchan form. In fact, Shakespeare can be credited with single-handedly bringing the Italian Renaissance to England. 43

How could the Stratford man have gained so much firsthand knowledge about the Continent, particularly Italy? It was difficult even for nobles to travel at this time. A nobleman required special permission from the Queen to travel at a time when Protestant England was under siege by the Continent. The Throckmorton Plot to unseat the Queen and the northern uprising prove that England was under great peril and in constant danger of plots hatched by France and Spain. Under siege as she was, Elizabethan England had a moratorium on travel as strict as that of Soviet era Russia or North Korea today. It is unlikely Shakespeare would have ever been granted such permission to travel, and there is certainly no evidence from any of the documented record that he ever was.

It seems likely then that the author of the Shakespeare plays, which the author of this paper believes to be Edward de Vere, was dispatched to the Continent on an intelligence-gathering mission to the foreign courts and returned to England to dramatize what he had learned abroad. As part of the propaganda network operating under Sir Francis Bacon, founder and head of British intelligence, Oxford would have acted as a patron to the other writers employed by the propaganda syndicate, turning out plays with his apprentices that would have inspired great revelry at the revels. No Elizabethan scholar has ever pointed out the formulaic nature of the Elizabethan theater with its tendency toward histories, comedies and tragedies among the various dramatists. It is as if they were all part of the same dramatic school. Even the titles of the plays among the various Elizabethan authors resemble each other, the Jonson play titled, Every Man Out of His Humor, resembling vintage Shakespeare. As propaganda, the history plays seem conceived to bring into relief the heroic exploits of the English nobility to cultivate a feeling of national identity and pride in the patriotic playhouse. The comedies, on the other hand, were designed to lampoon and satirize the foreign courts, particularly that of France and to paint then in a disparaging light, highlighting their decadence and dissolute ways. Tragedies like Othello, Marlowe’s Tamburlaine, and Titus Andronicus, as already revealed, are designed to make foreign monarchs like Philip II of Spain look like homicidal maniacs. Then, there are the tragedies closer to home like Hamlet, which seem not to have the foreign court as its target, but the Elizabethan Court itself. This accounts for why a pen name was required. Had Philip and other foreign monarchs been able to identify Oxfor