Saturday, 5 July 2014

Percy Bysshe Shelley

"Can Man be free, if Woman be a slave...?"

 “The true difference between Byron and Shelley consists in this, that those who understand and love them consider it fortunate that Byron died in his thirty-sixth year, for he would have become a reactionary bourgeois had he lived longer; 

conversely, they regret Shelley’s death at the age of twenty-nine, because he was a revolutionary through and through and would consistently have stood with the vanguard of socialism.”  
- Karl Marx




DECLARATION OF RIGHTS.

1
GOVERNMENT has no rights; it is a delegation from several individuals for the purpose of securing their own. It is therefore just, only so far as it exists by their consent, useful only so far as it operates to their well-being.
2


IF these individuals think that the form of government which they, or their forefathers constituted is ill adapted to produce their happiness, they have a right to change it.

3


Governmnent is devised for the security of rights. The rights of man are liberty, and all equal participation of the commonage of nature.

4


As the benefit of the governed, is, or ought to be the origin of government, no men can have any authority that does not expressly emanate from their will.

5


Though all governments are not so bad as that of Turkey, yet none are so good as they might be; the majority of every country have a right to perfect their government, the minority should not disturb them, they ought to secede, and form their own system in their own way.

6


All have a right to an equal share in the benefits, and burdens of Government. Any disabilities for opinion, imply by their existence, barefaced tyranny on the side of government, ignorant slavishness on the side of the governed.

7


The rights of man in the present state of society, are only to be secured by some degree of coercion to be exercised on their violator. The sufferer has a right that the degree of coercion employed be as slight as possible.

8


It may be considered as a plain proof of the hollowness of any proposition, if power be used to enforce instead of reason to persuade its admission. Government is never supported by fraud until it cannot be supported by reason.

9


No man has a right to disturb the public peace, by personally resisting the execution of a law however bad. He ought to acquiesce, using at the same time the utmost powers of his reason, to promote its repeal.

10


A man must have a right to act in a certain manner before it can be his duty. He may, before he ought.

11


A man has a right to think as his reason directs, it is a duty he owes to himself to think with freedom, that he may act from conviction.

12


A man has a right to unrestricted liberty of discussion, falsehood is a scorpion that will sting itself to death.

13


A man has not only a right to express his thoughts, but it is his duty to do so.

14


No law has a right to discourage the practice of truth. A man ought to speak the truth on every occasion, a duty can never be criminal, what is not criminal cannot be injurious.

15


Law cannot make what is in its nature virtuous or innocent, to be criminal, any more than it can make what is criminal to be innocent. Government cannot make a law, it can only pronounce that which was the law before its organisation, viz. the moral result of the imperishable relations of things.

16


The present generation cannot bind their posterity. The few cannot promise for the many.

17


No man has a right to do an evil thing that good may come.

18


Expediency is inadmissible in morals. Politics are only sound when conducted on principles of morality. They are, in fact, the morals of nations.

19


Man has no right to kill his brother, it is no excuse that he does so in uniform. He only adds the infamy of servitude to the crime of murder.

20


Man, whatever be his country, has the same rights in one place as another, the rights of universal citizenship.

21


The government of a country ought to be perfectly indifferent to every opinion. Religious differences, the bloodiest and most rancorous of all, spring from partiality.

22


A delegation of individuals, for the purpose of securing their rights, can have no undelegated power of restraining the expression of their opinion.

23


Belief is involuntary; nothing involuntary is meritorious or reprehensible. A man ought not to be considered worse or better for his belief.

24


A Christian, a Deist, a Turk, and a Jew, have equal rights: they are men and brethren.

25


If a person's religious ideas correspond not with your own, love him nevertheless. How different would yours have been, had the chance of birth placed you in Tartary or India!

26


Those who believe that Heaven is, what earth has been, a monopoly in the hands of a favored few, would do well to reconsider their opinion: if they find that it came from their priest or their grandmother, they could not do better than reject it.

27


No man has a right to be respected for any other possessions, but those of virtue and talents. Titles are tinsel, power a corruptor, glory a bubble, and excessive wealth, a libel on its possessor.

28


No man has a right to monopolize more than he can enjoy; what the rich give to the poor, whilst millions are starving, is not a perfect favour, but an imperfect right.

29


Every man has a right to a certain degree of leisure and liberty, because it is his duty to attain a certain degree of knowledge. He may before he ought.

30


Sobriety of body and mind is necessary to those who would be free, because, without sobriety a high sense of philanthropy cannot actuate the heart, nor cool and determined courage, execute its dictates.

31


The only use of government is to repress the vices of man. If man were to day sinless, to-morrow he would have a right to demand that government and all its evils should cease.


Man! thou whose rights are here declared, be no longer forgetful of the loftiness of thy destination. Think of thy rights; of those possessions which will give thee virtue and wisdom, by which thou mayest arrive at happiness and freedom. They are decimated to thee by one who knows thy dignity, for every hour does his heart swell with honorable pride in the contemplation of what thou mayest attain, by one who is not forgetful of thy degeneracy, for every moment brings home to him the bitter conviction of what thou art.
Awake!-arise!-or be for ever fallen.

Forman's Editorial Preface: In addition to the two Irish pamphlets, Shelley appears to have got printed in Dublin the broadside entitled Declaration of Rights, which afterwords led to the imprisonment of his Irish servant Daniel Hill (or Healy) for uttering the same without an imprint. Although this curious document was reprinted by Richard Carlile in The Republican for the 24th of September, 1819, and figures in Lowndes's Bibliographers's Manual (Bohn's Edition, p. 2374) as having occurred in a certain copy of Queen Mab not now forthcoming, it remained for Mr. Rossetti to place it before the present generation of Shelley's readers in an article contributed to The Fortnightly Review for January, 1871, entitled "Shelley in 1812-13." Mr. Rossetti (p. 71) points out the resemblances between this Declaration and two such Documents of the French Revolution, "the one adopted by the Consituent Assembly in August, 1789, and the other proposed in April, 1793, by Robespierre." Mr. MacCarthy (Shelley's Early Life, p. 323) calls attention to the recurrence, in the Declaration of Rights, of certain thoughts and phrases from the Proposals for an Association. For a concise account of Shelley's proceeding's at Barnstaple with this hand-bill, see p. 37 of the memoir prefixed to Vol. I. of Mr. Rossetti's last edition of Shelley's Poetical Works (3 vols. 1878). The Declaration is a roughly printed affair,—a single leaf measuring 14[and]7/8 inches by 8[and]15/16 inches. There are two copies preserved in the Public Record Office; and Lord Carlingford has the copy sent officially to Mr. (afterwards Sir Francis) Feeling, Secretary of the Post Office, by the Post Office Agent at Holyhead, under circumstances fully detailed by Mr. MacCarthy (Shelley's Early Life, pp. 309 et seq.). By his Lordship's courtesy, the text is here given from that copy.—H.B.F.


Edward and Eleanor Marx-Aveling 1888

Shelley and Socialism


Source: “Shelley and Socialism,” by Edward and Eleanor Marx-Aveling, To-Day, April 1888, pp. 103-116;
Transcribed: by Ted Crawford.

Part I.

All references are to the Second Edition of Shelley’s Poetical Works, edited by H. Buxton Forman (Reeves and Turner, 1886); to Professor Dowden’s Life of Shelley, (Kegan Paul and Co., 1886), or to Dr. Garnet’s “Letters,” Parchment Series (Kegan Paul and Co)
This paper is, in the first place, an attempt at the treatment of an important subject on the plan that seems to its writers the one most likely to lead to results at once accurate and fruitful. That plan is based upon the co-operation of a man and a woman, whose sympathies are kindred, but whose points of view and methods of looking at facts are as different as are the positions of the two sexes to-day, even in the most favourable conditions, under the compulsion of our artificial and unhealthy society.
The question to be considered is not whether Socialism is right or wrong, but whether Shelley was or was not a Socialist; and it may not be unfair to contend, that if it can be shown that Shelley was a Socialist, a prima facia case, at least, is in the judgment of every Shelley lover made out in favour of Socialism.
That the question at issue may be clearly understood, let us state in the briefest possible way what Socialism means to some of us. (1) That there are inequality and misery in the world; (2) that this social inequality, this misery of the many and this happiness of the few are the necessary outcome of our social conditions; (3) that the essence of these social conditions is that the mass of the people, the working class, produce and distribute all commodities, while the minority of the people, the middle and upper class possess these commodities; (4) that this initial tyranny of the possessing class over the producing class is based on the present wage-system, and now maintains all other forms of oppression, such as that of monarchy or clerical rule, or police despotism; (5) that this tyranny of the few over the many is only possible because the few have obtained possession of the land, the raw materials, the machinery, the banks, the railways, in a word, of all the means of production and distribution of commodities, and have, as a class, obtained possession of these by no superior virtue, effort or self-denial, but by either force or fraud (6) lastly, that the approaching change in “civilised” society will be a revolution, or in the words of Shelley “the system of human society as it exists at present must be overthrown from the foundations.” [a] The two classes at present existing will be replaced be a single class consisting of the whole of the healthy and sane members of the community, possessing all the means of production and distribution in common, and working in common for the production and distribution of commodities.
Again let us say that we are not now concerned with the accuracy or inaccuracy of these principles. But we are concerned with the question whether they were, or were not, held by Shelley. If he enunciated views such as these, or even approximating to these, it is clear that we must admit that Shelley was a teacher as well as a poet. The large and interesting question whether a poet has or has not a right to be didactic as well as merely descriptive, analytical, musical, cannot be entered upon here. In passing we may note that poets have a habit of doing things whether they have the right or not.
For the purpose of our study the following plan is suggested. I. A note or two on Shelley himself and his own personality, as bearing on his relations to Socialism. II. On those, who, in this connection had most influence upon his thinking. III. His attacks on tyranny, and his singing for liberty, in the abstract. IV. And in the concrete. V. His clear perception of the class struggle. VI. His insight into the real meaning of such words as “freedom,'’ “justice,” “crime,” “labour,” “property,” to-day. VII. His practical, his exceedingly practical nature in respect to the remedies for the ills of society. VIII. His comprehension of the fact that a reconstruction of society is inevitable, is imminent. IX. His pictures of the future, “delusions that were no delusions,” as he says. X.A reference to the chief works in which his socialistic ideas found expression. We cannot hope in this article to deal with more than the first six of these divisions. The remaining four we shall be glad, if opportunity offers to consider upon some future occasion.
Shelley’s own Personality. He was the child of the French Revolution. “The wild-eyed women” thronging round the path of Cythna as she went through the great city [b] were from the streets of Paris, and he, more than any other of his time, knew the real strength and beauty of this wild mother of his and ours. With his singular poetical and historical insight he saw the real significance of the holy struggle. Another singer of that melodious time, Byron, was also a child of the same Revolution. But his intellectual fore-runners were Voltaire and his school, and the Rousseau of the Nouvelle Héloise, whilst those of Shelley were Baboeuf and the Rousseau of the Contrat Social. It is a wise child that knows his own father. As Marx, who understood the poets as well as he understood the philosophers and economists, was wont to say: “The real difference between Byron and Shelley is this: those who understand them and love them rejoice that Byron died at thirty-six, because if he had lived he would have become a reactionarybourgeois; they grieve that Shelley died at twenty-nine, because he was essentially a revolutionist, and he would always have been one of the advanced guard of Socialism.”
The outbreak of the Revolution was only three years in advance of Shelley’s birth. Throughout Europe in the earlier part of this century reaction was in full swing. In England there were trials for blasphemy, trials for treason, suspension of the Habeas Corpus Act, misery everywhere. Shelley saw — not as Professor Dowden alternately has it, “thought he saw” — in the French Revolution an incident of the movement towards a reconstruction of society. He flung himself into politics, and yet he never ceased singing.
Every poem of Shelley’s is stained with his intense individuality. Perhaps for our purpose the Lines written on the Euganean Hills, the Lionel of Rosalind and Helen, and Prince Athanase afford the best exemplars. But let us also keep in remembrance Mary Shelley’s testimony to the especial value of Peter Bell the Third, in respect to the social and religious views of her husband. “No poem contains more of Shelley’s peculiar views with regard to the errors into which many of the wisest have fallen, and of the pernicious effects of certain opinions on society ... Though, like the burlesque drama of Swellfoot, it must be looked on as a plaything, it has ... so much of himself in it that it cannot fail to interest greatly, and by right belongs to the world for whose instruction and benefit it was written.” [c]
And now having quoted her we may quote himself upon himself. Whether wholly unconsciously, or with the modest self-consciousness of genius he has written, lines and lines that are word-portraits of himself. Of these only one or two familiar instances can be taken.
He was one of —
“The sacred few who could not tame
Their spirits to the conquerors.”
[Triumph of Life]. [d]
“And then I clasped my hands and looked around — 
But none was near to mock my streaming eyes,
Which poured their warm drops on the sunny ground — 
So without shame, I spake: — “I will be wise,
And just, and free, and mild, if in me lies
Such power, for I grow weary to behold
The selfish and the strong still tyrannise
Without reproach or check.” I then controlled
My tears, my heart grew calm, and I was meek and bold.
“And from that hour did I with earnest thought
Heap knowledge from forbidden mines of lore,
Yet nothing that my tyrants knew or taught
I cared to learn, but from that secret store
Wrought linked armour for myself, before
It might walk forth to war among mankind;
Thus power and hope were strengthened more and more
Within me, till there came upon my mind
A sense of loneliness, a thirst with which I pined.” 
[Laon and Cytha][e]
He was one of —
“Those who have struggled, and with resolute will
Vanquished earth’s pride and meanness, burst the chains,
The icy chains of custom, and have shone
The day-stars of their age.”
[Queen Mab.] [f])
The dedication of The Cenci to Leigh Hunt may be taken as if Shelley was communing with his own heart.
“One more gentle, honourable, innocent and brave; one of more exalted toleration for all who do and think evil, and yet himself more free from evil; one who knows better how to receive and how to confer a benefit though he must ever confer far more than he can receive; one of simpler, and, in the highest sense of the word, of purer life and manners I never knew.”
[Dedication of The Cenci.] [g]
Pure-minded, earnest-souled, didactic poet, philosopher, prophet, then he is. But add to this, if you will rightly estimate the immense significance of his advocacy of any political creed, the fact already noted of his extraordinary political insight; and add also, if you will rightly estimate the value of his adherence to any scientific truth, the fact that he had a certain conception of evolution long before it had been enunciated in clear language by Darwin, or had even entered seriously into the region of scientific possibilities. Of his acuteness as historical observer, one general instance has already been given in connection with the French Revolution. Yet another less obvious but even more astounding example is furnished by his poems on Napoleon. Shelley was the first, was indeed the only man of his time to see through Napoleon. The man whom every one in Europe at that period took for a hero or a monster, Shelley recognised as a mean man, a slight man, greedy for gold, as well as for the littleness of empire. His instinct divined a Napoleon “the little” in Napoleon “the great.” That which Michelet felt was true, that which it was left for Lanfrey to prove as a historical fact, the conception of Napoleon that is as different from the ordinary one, as an ordinary person is from Shelley, this “dreamer” had.
In 1816 we find him writing:
“I hated thee, fallen tyrant! I did groan
To think that a most unambitious slave,
Like thou, shouldst dance and revel on the grave 
Of Liberty.” [h]
and in 1821, the year of Napoleon’s death.
“Napoleon’s fierce spirit rolled,
In terror, and blood, and gold,
A torrent of ruin to death from his birth” [i]
By instinct, intuition, whatever we are to call that fine faculty that feels truths before they are put into definite language, Shelley was an Evolutionist. He translated into his own pantheistic language the doctrine of the eternity of matter and the eternity of motion, of the infinite transformation of the different forms of matter into each other, of different forms of motion into each other, without any creation or destruction of either matter or motion. But that he held these scientific truths as part of his creed, there can be no doubt. You have the doctrine, certainly in a pantheistic form, but certainly there, in the letter to Miss Hitchener. “As the soul which now animates this frame was once the vivifying principle of the lowest link in the chain of existence, so is it ultimately destined to attain the highest.” (Letters VI., p.12). [k]. In Queen Mab:
“Spirit of Nature! here!
In this interminable wilderness
Of worlds, at whose immensity
Even soaring fancy staggers,
Here is thy fitting temple.
Yet not the lightest leaf
That quivers to the passing breeze
Is less instinct with thee
Yet not the meanest worm
That lurks in graves and fattens on the dead
Less shares thy eternal breath “[l].
Of the two great principles affecting the development of the individual and of the race, those of heredity and adaptation, he had a clear perception, although they as yet were neither accurately defined nor even named. He understood that men and peoples were the result of their ancestry and of their environment. Two prose fragments in illustration of this. One is: “But there must be a resemblance which does not depend upon their own will, between all the writers of any particular age. They cannot escape from subjection to a common influence which arises out of an infinite combination of circumstances belonging to the times in which they live, though each is in a degree the author of the very influence by which his being is thus pervaded. Thus, the tragic poets of the age of Pericles; the Italian revivers of learning; those mighty intellects of our own country that succeeded the Reformation, the translators of the Bible, Shakespeare, Spenser, the dramatists of the reign of Elizabeth, and Lord Bacon, the colder spirits of the interval that succeeded; all resemble each other and differ from every other in their several classes. In this view of things Ford can no more be called the imitator of Shakespeare, than Shakespeare the imitator of Ford. There were perhaps few other joints of resemblance between these two men, than that which the universal and inevitable influence of their age produced. And this is an influence which neither the meanest scribbler, nor the sublimest genius of any era can escape, and which I have not attempted to escape.” (F. I. p.57-58).
The other is:
“It is less the character of the individual than the situation in which he is placed which determines him to be honest or dishonest.” [m] (Letter to Hunt).
This extraordinary power of seeing things clearly and of seeing them in their right relations one to another, shown not alone in the artistic side of his nature, but in the scientific, the historical, the social, is a comfort and strength to us that hold in the main the beliefs, made more sacred to us in that they were his, and must give every lover of Shelley pause when he finds himself parting from the Master on any fundamental question of economics, of faith, of human life.
II. The people most immediately influencing him.
A word again upon Byron here. In Byron we have the vague, generous and genuine aspirations in the abstract, which found their final expression in the bourgeois-democratic movement of 1848. In Shelley, there was more than the vague striving after freedom in the abstract, and therefore his ideas are finding expression in the social-democratic movement of our own day. Thus Shelley was on the side of the bourgeoisie when struggling for freedom, but ranged against them when in their turn they became the oppressors of the working-class. He saw more clearly than Byron, who seems scarcely to have seen it at all, that the epic of the nineteenth century was to be the contest between the possessing and the producing classes. And it is just this that removes hint from the category of Utopian Socialists, and makes him so far as it was possible in his time, a Socialist of modern days.
We have already referred to the influence of Baboeuf, (probably indirect), and of Rousseau. To these must of course be added the French “philosophes,” the Encyclopaedists, especially Holbach, or more accurately his “ghost” Diderot — Diderot, the intellectual “ghost” of everybody of his time.
Into any inquiry concerning the writer, that influenced Shelley’s politics and sociology the name of Godwin must necessarily enter prominently. Bowden’s Life, has made us all so thoroughly acquainted with the ill side of Godwin, that just now there may be a not unnatural tendency to forget the best of him. But whatever his colossal and pretentious meannesses and other like faults may have been, we have to remember that he wrote Political Justice, a work in itself of extraordinary power, and of special significance to us as the one that did more than any other to fashion Shelley’s thinking. Much has been made, scarcely too much can be made, of the influence of Godwin’s writings on Shelley. But not enough has been made of the influence upon him of the two Marys; Mary Wollstonecraft, and Mary Shelley. It was one of Shelley’s “delusions that are not delusions” that man and woman should be equal and united; and in his own life and that of his wife he not only saw this realised, but saw the possibility of that realisation in lives less keen and strong than theirs. All through his work this oneness with his wife shines out, and most notably in the dedication to that most didactic of poems, Laon and CythnaLaon and Cythna are equal and united powers, brother and sister, husband and wife, friend and friend, man and woman. In the dedication to the history of their suffering, their work, their struggle, their triumph and their love, Mary is “his own heart’s home, his dear friend beautiful and calm and free.”
“And what art thou? I know, but dare not speak:
Time may interpret to his silent years,
Yet in the paleness of thy thoughful cheek,
And in the light thine ample forehead wears,
And in thy sweetest smiles and in thy tears,
And in thy gentle speech, a prophecy
Is whispered, to subdue my fondest fears;
And thro’ thine eyes, even in thy soul I see,
A camp of vestal fire burning internally.”
And in the next stanza to the one just quoted that other Mary is besung.
“One then left this earth
Whose life was like a setting planet mild,
Which clothed thee in the radiance undefiled,
Of its departing glory, still her fame
Shines on thee thro’ the tempests dark and wild,
Which shake these latter days.”
In a word, the world in general has treated the relative influences of Godwin on the one hand and of the two women on the other, pretty much as might have been expected with men for historians.
Probably the fact that he saw so much through the eyes of these two women quickened Shelley’s perception of women’s real position in society, and of the real cause of that position. This, which he only felt in the Harriet days, he would have understood fully of himself sooner or later. That this understanding came sooner, is in large measure due to the two Marys. One of them at least before him had seen in part that women’s social condition is a question of economics, not of religion or of sentiment. The woman is to the man as the producing class is to the possessing. Her “inferiority,” in its actuality and in its assumed existence, is the outcome of the holding of economic power by man to her exclusion. And this Shelley understood not only in its application to the most unfortunate of women, but in its application to every woman.
But note how in the Laon and Cythna it is (F. I. 108, xxi) “woman, (i.e. woman in general) outraged and polluted long.” Now truly he understands the position of woman, and how thoroughly he recognizes that in her degradation man is degraded, and that in dealing out justice to her man will be himself set free, the well-known Laon and Cythna passage will serve to illustrate.
“Can man be free if woman be a slave?
Chain one who lives, and breathes this boundless air
To the corruption of a closed grave!
Can they whose mates are beasts, condemned to bear
Scorn heavier far than toil or anguish, dare
To trample their oppressors? in their home
Among their babes, thou knowest a curse would wear
The shape of woman — hoary crime would come
Behind, and Fraud rebuild religion’s tottering dome [n].”
III. Tyranny and Liberty in the abstract. With these in the abstract the poets have always been busy. They have denounced the former in measured language and unmeasured terms. Yet they have been known to refuse their signatures to petitions asking for justice on behalf of seven men condemned to death upon police evidence of the worst kind. They have sung paeans in praise of liberty in the abstract, or in foreign lands. Yet they have written hymns against Ireland and for the Liberal Unionists. Shelley has not, to use a forcible colloquialism, “gone back on himself.” When we read the Ode to Liberty, or the 1819 Ode for the Spaniards, or the tremendous Liberty of 1820, we have not the sense of uneasiness that we have when reading Holy Cross Day or The Litany of Nations. This man is through and through foe to tyranny in the abstract and in the concrete form.
Of course in much of his work the ideas that exercise a malevolent despotism over men’s minds are attacked in general terms. Superstition and empire in all their forms Shelley hated, and therefore he again and again dealt with them as abstractions from those forms. Superstition, or an unfounded reverence for that which is unworthy of reverence, was to him, at first, mainly embodied in the superstition of religion. To the younger Shelley, l'infâme of Voltaire’s ecrasez l'infâme was to a great extent, as with Voltaire wholly, the priesthood. And the empire that he antagonised was at first that of kingship and that of personal tyranny. But even in his attacks on these he simultaneously assails the superstitious belief in the capitalistic system, and the empire of class. As time goes on, with increasing distinctness, he makes assault upon these, the most recent, and most dangerous foes of humanity. And always, every word that he has written against religious superstitions, and the despotism of individual rulers may be read as against economic superstition and the despotism of class. “The immense improvements of which by the extinction of certain moral superstitions [for moral we can also read economic] human society may be yet susceptible.” [Preface to Julian and Maddalo[o].
IV. Tyranny in the concrete. We must pass over, with a mere reference only, the songs for nations — for Mexico, Spain, Ireland, England. Of his attacks upon Napoleon mention has been made. In the Mask of Anarchy, Castlereagh, Sidmouth, Eldon, are all personally gibbeted. In each case, not only the mere man but the infamous principle he represents is the object of attack. Just as the Prince Regent to Shelley was embodied princeship, and Napoleon embodied personal greed and tyranny, so Castlereagh (the Chief Secretary for Ireland before he was War Minister), was embodied war and government; Sidmouth, Home Secretary at the Peterloo time, embodied officialism, Eldon embodied Law. He is for ever denouncing priest and king and statesman.
Kings priests and statesmen, blast the human flower,
Even in its tender bud; their influence darts
Like sudden poison, through the bloodless veins
Of desolate society — (Queen Mab[p]
But he scarcely ever fails to link with these the basis on which nowadays they all rest — our commercial system. See the Queen Mab passage beginning: —
Commerce has set the mark of selfishness
The signet of its all enslaving power.[q]
It is not for nothing that in Charles I. the court fool puts together the shops and churches. “ The rainbow hung over the city with all its shops — and churches."[r] This leads us to our next point.
V. His perception of the class-struggle. — More than anything else that makes us claim Shelley as a Socialist is his singular understanding of the facts that to-day tyranny resolves itself into the tyranny of the possessing class over the producing, and that to this tyranny in the ultimate analysis is traceable almost all evil and misery. He saw that the so-called middle-class is the real tyrant, the real danger at the present day. Those of us who belong to that class, in our delight at Shelley’s fierce onslaughts upon the higher members of it, aristocrats, monarchs, landowners, are apt to forget that de nobis etiam fabula narratur. Of us also he speaks. This point is of such importance that more quotations than usual must be taken to enforce it. From Edinburgh, in his first honeymoon he writes: — “Had he [Uncle Pilfold] not assisted us, we should still have been chained to the filth and commerce of Edinburgh. Vile as aristocracy is, commerce — purse-proud ignorance and illiterateness — is more contemptible [s].” From Keswick a few months later he writes of the Lake District: — “Though the face of the country is lovely, the people are detestable. The manufacturers, with their contamination, have crept into the peaceful vale, and deformed the loveliness of nature with human taint[t].”
Or take the end of a Keswick letter, 1811, to Miss Hitchener: — “The grovelling souls of heroes, aristocrats, and commercialists.” Even when he uses the phrase “privileged classes” in the Philosophic View of Reform [u], it is clear he is thinking of them as a whole in contradiction to the class destitute of every privilege. Two or three last quotations in this connection to show how he understood the relative positions, not only above and below but antagonistic of these two classes [v]. The chorus of priests, Act ii. scene 2 of Swellfoot: “Those who consume these fruits through thee (the goddess Famine) grow fat; those who produce these fruits through thee grow lean [w].” For a taste of the consequences to all and sundry, to whichever class they belong, of this class-antagonism a few stanzas from Peter Bell [x]. Mary’s words may be quoted as summing up his position: “Shelley loved the people, and respected them as often more virtuous, as always more suffering, and, therefore more deserving of sympathy than the great. He believed that a clash between the two classes of society was inevitable, and he eagerly ranged himself on the people’s side.” — (Critical Notes[y]
VI. His understanding of the real meaning of things. — His acuteness of vision is not only seen in his marking off society into the two groups, but in his understanding the real meaning of phrases that are to most of us either formulae or cant. Let us take as many of these as space allows.
Anarchy. — Shelley saw and said that the Anarchy we are all so afraid of is very present with us. We live in the midst of it. Anarchy is God and King and Law in the Mask of Anarchy, and let us add is Capitalism.
Freedom. — The extraordinary statement that England is a free country was to Shelley the merest nonsense. “The white shore of Albion free no more .... The abortion with which she travaileth is the Liberty smitten to death.” Lines written during the Castlereagh administration [z]And he understood the significant fact in this connection that those who talk and write of English freedom and the like know they are talking and writing cant. The hollowness of the whole sham kept up by newspaper writers, parliamentary orators, and so forth, was as apparent to him sixty years ago as it is to-day to the dullest of us [aa].
Custom. — The general evil of that custom which is to most of us a law, the law, the only law of life, he was never weary of denouncing. “The chains, the icy chains of custom (Queen Mab) [bb]. The “more eternal foe than force or fraud, old custom” (Fall of Bonaparte). And with the denunciation of custom, followed merely because it is custom, is the noble teaching of self-mastery, and the poet’s contradiction of the statement that under the new regime men will be machines, uniformity reign, and individuality be dead [cc].
Cruelty of the governing class. — A tyrannical class like a tyrannical man stops at nothing in order to maintain its position of supremacy. No means are too insignificant, no weapon too ponderous. From the policeman’s “nark,” or spy not a member of the police force, to the machinery of a trial for treason, nothing comes amiss to the class that governs. Shelley knew what a mockery for the most part is a trial instituted by a government, whether in Ireland or in England. “A trial I think men call it” (Rosalind and Helen[dd].
In June 1817, a few operatives rose in Derbyshire. A score of dragoons put down the Derbyshire insurrection, an insurrection there is reason to believe put up by a Government spy. On November 7th 1817, three men, Brandreth, Turner, Ludlam, “were drawn on hurdles to the place of execution, and were hanged and decapitated in the presence of an excited and horror-stricken crowd” (Dowden’s Life)[ee]. Against this judicial murder Shelley’s voice was lifted up, as it would be now in like case. For like cases are occurring, still occur in increasing numbers as the class struggle intensifies. In Ireland at Lisdoovarna, Constable Whelehan was murdered recently in a moonlighting raid. The raid had been planned by Cullinane, a Government spy. On Monday Dec. 12, 1887, one man was condemned to ten years’, four others to seven years’ penal servitude for an offence planned by a government spy. Against this sentence Shelley were he alive would, we are certain, protest. So would he have protested against the direct murders by the police at Michelstown, and Trafalgar Square. So would he have protested against the recent judicial murder in America of four men and the practical imprisonment for life of three others. The Chicago Anarchist meeting differed even from the Derbyshire insurrection of 1817. There was no rising, no talk of rising, no use of physical force by the people, no threat of it. Yet seven men were condemned on the evidence of the police, evidence that those who have read every word of it feel was not only insufficient to prove the guilt, but absolutely conclusive as to the innocence of the accused. Had Shelley been alive he would have been the first to sign the petition on behalf of the Chicago Anarchists.
Crime. — This phenomenon Shelley recognized as the natural result of social conditions. The criminal was to him as much a creature of the society in which the lived as the capitalist or the monarch. “Society,” said he, “grinds down poor wretches into the dust of abject poverty, till they are scarcely recognizable as human beings."[ff] In his literal discussions with Miss Hitchener Shelley more than once asks whether with a juster distribution of happiness, of toil and leisure, crime and the temptation to crime, would not almost cease to exist.[gg]. And much that is called crime was to Shelley (the Preface to Laon and Cythna is but one evidence) only crime by convention.
Property. The opinion of Shelley as to that which could be rightly enjoyed as a person’s own property and what could only be enjoyed wrongly, will be in part gathered from a quotation which paraphrased in the more precise language of scientific Socialism reads thus: “A man has a right to anything that his own labour has produced, and that he does not intend to employ for the purpose of injuring his fellows. But no man can himself acquire a considerable aggregation of properly except at the expense of his fellows. He must either cheat a certain number out of the value of it, or take it by force.”
Again, note the conception of wealth in the Song to the Men of England: “The wealth ye find another keeps.” [ii] The source of all wealth is human labour, and that not the labour of the possessors of that wealth.[jj]
As to that for which the working class work he quotes Godwin in the fifth note to Queen Mab.[kk]
Let us take as our last example of his understanding of the central position of Socialism, a quotation to be found in a letter to Miss Hitchner, dated December 15th, 1811. Shelley is discussing the entailment of his estate: “that I should entail £120,000 of command over labour, of power to remit this, to employ it for beneficent purposes, on one whom I know not."[ll]
We cannot expect even such a man as Shelley to have thought out in his time the full meaning of labour-power, labour, and the value of commodities. But undoubtedly he knew the real economic value of private property in the means of production and distribution, whether it was in machinery, land, funds, what not. He saw that this value lay in the command, absolute, merciless, unjust, over human labour. The Socialist believes that these means of production and distribution should be the property of the community. For the man or company that owns them has practically irresponsible control over the class that does not possess them.
The possessor can and does dictate terms to the man or woman of that non-possessing class. “You shall sell your labour to me. I will pay you only a fraction of its value in wage. The difference between that value and what I pay for your labour I pocket, as a member of the possessing class, and I am richer than before, not by labour of my own, but by your unpaid labour.” This was the teaching of Shelley. This is the teaching of Socialism, and therefore the teaching of Socialism, whether it is right or wrong, is also that of Shelley. We claim him as a Socialist.

Notes


a. Letter to Leigh Hunt, May 1, 1820 D II., 346
b. Laon and Cythna. F. I. 108.
c. Mary’s notes, F. I. p.lxxxii
d. F. II 140 128-9, Is
e. F. I. 63 st. iv. v.
f. F. II. 434, Is. 125-8.
g. F I. 251-2.
h. F. 127.
i. F. I. 572, is. 34-36.
k. Parchment series.
l. F. II. 438, ls. 264-274
m. D p.346.
n. F. I.92 xlii
o. F. II. 2.
p. F II 454, Is, 104-107,
q. F. II. 460, IS. 53-78.
r. F. II. 129.
s. D. I. 181.
t. D. I. 200.
u. D, II. 294.
v. F. II. 115, D. I. 319.
w. F. I. 484.
x. F. II 53-55.
y. F. I. lxxx.
z. F. II. 185.
aa. F. I. 106.
bb. F. II. 431.
cc. F. II. 237.
dd. F. I. 225.
ee. II. 157
ff. D. I. 474
gg. D. I. 164
hh. D. II. 295
ii. F. II. 187.
jj. F. II. 188
kk. II. 499, 500
ll. D. I. 205, 6


“The difference between Byron and Shelley”

Abstract


SourceMarx Engels On Literature and Art, Progress Publishers, 1976;
Transcribed: by Andy Blunden;
First published: in Die Neue Zeit, VI. Jg., 1888;

Marx, who knew and understood poets just as well as philosophers and economists, used to say: “The true difference between Byron and Shelley consists in this, that those who understand and love them consider it fortunate that Byron died in his thirty-sixth year, for he would have become a reactionary bourgeois had he lived longer; conversely, they regret Shelley’s death at the age of twenty-nine, because he was a revolutionary through and through and would consistently have stood with the vanguard of socialism.”

Friday, 4 July 2014

Rhianna Supports Isis (And vice-versa)

It's all done in the best passable taste...!
(Sorry..)

Mother Isis, 
Goddess of K'met.
Mother Ishtar,
Goddess of Babylon and Summaria.

Grant Morrison's Isis,
Bride of Black Adam.
The Origin of Teth-Adam,
Husband to fair and mighty Isis

According to Shazam! #28, Black Adam gets his powers from:
Shu (stamina), 
Hershef (strength), 
Amon (power), 
Zehuti (Thoth) (wisdom), 
Anpu (speed), and 
Menthu (courage). 
!

Mighty mother, daughter of the Nile,

we rejoice as you join us with the rays of the sun.

Sacred sister, mother of magic,

we honor you, Lover of Osiris,

she who is mother of the universe itself.


Isis, who was and is and shall ever be

daughter of the earth and sky,

I honor you and sing your praises.

Glorious goddess of magic and light,

I open my heart to your mysteries.


Evening Prayer to Isis

Hail Isis, glorious Goddess,
Day is done
and the night is come,
the sun is set
and the stars emerge.
This is the Evening Rite,
the rite to end
the day of light.
Let your instrument sound
hailing You with all homage,
Isis, glorious Goddess.
To the candlewick the fire I raise on the altar set to You,
Isis, glorious Goddess,
And the nightime incense rises, sweetly mixed,
to put me in the mind of perceiving You,
Isis, glorious Goddess
Who rises behind me like a flame of gold
and brushes my back with deft wings.
I make open the nape of my neck to You.
Let Your portal welcome You,
O Isis, Great and glorious Goddess.
Up my hands rise and hold the curved bow of exaltation,
And rise once more to the sharp angle of invocation.
Come, oh great and glorious Goddess,
Come in the fullness of force and love,
let Your garment for a moment clothe You,
O Isis, Goddess great and glorious.


From inside the Pyramid of Unas,
Giza Plateau, Egypt.



Genesis 1:2


One must question why it says "let US make man in OUR image".

If there was one god, then should it read, " And God said, Let ME make man in MY own image".



For the record, the King James version of the Bible was edited by Sir Francis Bacon, who was a 33rd degree Freemason.

At this level of freemasonry, there is a motto of "ordo ab chao" which means "order out of chaos".



"an' people don't know, King James was such a strange, deviated, EVIL homosexual, he killed his own Mama, he hated women so much!

Dick Gregory



Closeted Homosexual Mulato Gay Edgar Hoover - 

Friend to alleged ritual abuse victim (See The Godfather Saga) Shirley Temple, as well as Dorothy.


George Villiers, 1st Duke of Buckingham 
King James' "Favourite", and "Special Friend"
1625, Peter Paul Rubens 


p. 165

Bacon, Shakspere, and the Rosicrucians

THE present consideration of the Bacon--Shakspere--Rosicrucian controversy is undertaken not for the vain purpose of digging up dead men's bones but rather in the hope that a critical analysis will aid in the rediscovery of that knowledge lost to the world since the oracles were silenced. It was W. F. C. Wigston who called the Bard of Avon "phantom Captain Shakespeare, the Rosicrucian mask." This constitutes one of the most significant statements relating to the Bacon-Shakspere controversy.

It is quite evident that William Shakspere could not, unaided, have produced the immortal writings bearing his name. He did not possess the necessary literary culture, for the town of Stratford where he was reared contained no school capable of imparting the higher forms of learning reflected in the writings ascribed to him. His parents were illiterate, and in his early life he evinced a total disregard for study. There are in existence but six known examples of Shakspere's handwriting. All are signatures, and three of them are in his will. The scrawling, uncertain method of their execution stamps Shakspere as unfamiliar with the use of a pen, and it is obvious either that he copied a signature prepared for him or that his hand was guided while he wrote. No autograph manuscripts of the "Shakespearian" plays or sonnets have been discovered, nor is there even a tradition concerning them other than the fantastic and impossible statement appearing in the foreword of the Great Folio.

A well-stocked library would be an essential part of the equipment of an author whose literary productions demonstrate him to be familiar with the literature of all ages, yet there is no record that Shakspere ever possessed a library, nor does he make any mention of books in his will. Commenting on the known illiteracy of Shakspere's daughter Judith, who at twenty-seven could only make her mark, Ignatius Donnelly declares it to be unbelievable that William Shakspere if he wrote the plays bearing his name would have permitted his own daughter to reach womanhood and marry without being able to read one line of the writings that made her father wealthy and locally famous.

The query also has been raised, "Where did William Shakspere secure his knowledge of modern French, Italian, Spanish, and Danish, to say nothing of classical Latin and Greek?" For, in spite of the rare discrimination with which Latin is used by the author of the Shakespearian plays, Ben Jonson, who knew Shakspere intimately, declared that the Stratford actor understood "small Latin and less Greek"! Is it not also more than strange that no record exists of William Shakspere's having ever played a leading rôle in the famous dramas he is supposed to have written or in others produced by the company of which he was a member? True, he may have owned a small interest in the Globe Theatre or Blackfriars, but apparently the height of his thespian achievements was the Ghost in Hamlet!

In spite of his admitted avarice, Shakspere seemingly made no effort during his lifetime to control or secure remuneration from the plays bearing his name, many of which were first published anonymously. As far as can be ascertained, none of his heirs were involved in any manner whatsoever in the printing of the First Folio after his death, nor did they benefit financially therefrom. Had he been their author, Shakspere's manuscripts and unpublished plays would certainly have constituted his most valued possessions, yet his will--while making special disposition of his second-best bed and his "broad silver gilt bowl" neither mentions nor intimates that he possessed any literary productions whatsoever.

While the Folios and Quartos usually are signed "William Shakespeare," all the known autographs of the Stratford actor read "William Shakspere." Does this change in spelling contain any significance heretofore generally overlooked? Furthermore, if the publishers of the First Shakespearian Folio revered their fellow actor as much as their claims in that volume would indicate, why did they, as if in ironical allusion to a hoax which they were perpetrating, place an evident caricature of him on the title page?

Certain absurdities also in Shakspere's private life are irreconcilable. While supposedly at the zenith of his literary career, he was actually engaged in buying malt, presumably for a brewing business! Also picture the immortal Shakspere--the reputed author of The Merchant of Venice--as a moneylender! Yet among those against whom Shakspere brought action to collect petty sums was a fellow townsman--one Philip Rogers--whom he sued for an unpaid loan of two shillings, or about forty-eight cents! In short, there is nothing known in the life of Shakspere that would justify the literary excellence imputed to him.

The philosophic ideals promulgated throughout the Shakespearian plays distinctly demonstrate their author to have been thoroughly familiar with certain doctrines and tenets peculiar to Rosicrucianism; in fact the profundity of the Shakespearian productions stamps their creator as one of the illuminati of the ages. Most of those seeking a solution for the Bacon-Shakspere controversy have been intellectualists. Notwithstanding their scholarly attainments, they have overlooked the important part played by transcendentalism in the philosophic achievements of the ages. The mysteries of superphysics are inexplicable to the materialist, whose training does not equip him to estimate the extent of their ramifications and complexities. Yet who but a Platonist, a Qabbalist, or a Pythagorean could have written The TempestMacbethHamlet, or The Tragedy of Cymbeline? Who but one deeply versed in Paracelsian lore could have conceived, A Midsummer Night's Dream?

Father of modern science, remodeler

HEADPIECE SHOWING LIGHT AND SHADED A's.
HEADPIECE SHOWING LIGHT AND SHADED A's.

From Shakespeare's King Richard The Second, Quarto of 1597.

The ornamental headpiece shown above has long been considered a Baconian or Rosicrucian signature. The light and the dark A's appear in several volumes published by emissaries of the Rosicrucians. If the above figure be compared with that from the Alciati Emblemata on the following pages, the cryptic use of the two A's will be further demonstrated.

THE TITLE PAGE OF BURTON'S ANATOMY OF MELANCHOLY.
THE TITLE PAGE OF BURTON'S ANATOMY OF MELANCHOLY.

From Burton's Anatomy of Melancholy.

Baconian experts declare Burton's Anatomy of Melancholy to be in reality Francis Bacon's scrapbook in which he gathered strange and rare bits of knowledge during the many years of eventful life. This title page has long been supposed to contain a cryptic message. The key to this cipher is the pointing figure of the maniac in the lower right-hand corner of the design. According to Mrs. Elizabeth Wells Gallup, the celestial globe at which the maniac is pointing is a cryptic symbol of Sir Francis Bacon. The planetary signs which appear in the clouds opposite the marginal figures 4, 5;, 6, and 7 signify the planetary configurations, which produce the forms of mania depicted. The seated man, with his head resting upon his hand. is declared by Baconian enthusiasts to represent Sir Francis Bacon.

p. 166

of modern law, editor of the modem Bible, patron of modem democracy, and one of the founders of modern Freemasonry, Sir Francis Bacon was a man of many aims and purposes. He was a Rosicrucian, some have intimated the Rosicrucian. If not actually the Illustrious Father C.R.C. referred to in the Rosicrucian manifestoes, he was certainly a high initiate of the Rosicrucian Order, and it is his activities in connection with this secret body that are of prime importance to students of symbolism, philosophy, and literature.

Scores of volumes have been written to establish Sir Francis Bacon as the real author of the plays and sonnets popularly ascribed to William Shakspere. An impartial consideration of these documents cannot but convince the open-minded of the verisimilitude of the Baconian theory. In fact those enthusiasts who for years have struggled to identify Sir Francis Bacon as the true "Bard of Avon" might long since have won their case had they emphasized its most important angle, namely, that Sir Francis Bacon, the Rosicrucian initiate, wrote into the Shakespearian plays the secret teachings of the Fraternity of R.C. and the true rituals of the Freemasonic Order, of which order it may yet be discovered that he was the actual founder. A sentimental world, however, dislikes to give up a traditional hero, either to solve a controversy or to right a wrong. Nevertheless, if it can be proved that by raveling out the riddle there can be discovered information of practical value to mankind, then the best minds of the world will cooperate in the enterprise. The Bacon-Shakspere controversy, as its most able advocates realize, involves the most profound aspects of science, religion, and ethics; he who solves its mystery may yet find therein the key to the supposedly lost wisdom of antiquity.

It was in recognition of Bacon's intellectual accomplishments that King James turned over to him the translators' manuscripts of what is now known as the King James Bible for the presumable purpose of checking, editing, and revising them. The documents remained in his hands for nearly a year, but no information is to be had concerning what occurred in that time. Regarding this work, William T. Smedley writes: " It will eventually be proved that the whole scheme of the Authorised Version of the Bible was Francis Bacon's." (See The Mystery of Francis Bacon.) The first edition of the King James Bible contains a cryptic Baconian headpiece. Did Bacon cryptographically conceal in the Authorized Bible that which he dared not literally reveal in the text--the secret Rosicrucian key to mystic and Masonic Christianity?

Sir Francis Bacon unquestionably possessed the range of general and philosophical knowledge necessary to write the Shakespearian plays and sonnets, for it is usually conceded that he was a composer, lawyer, and linguist. His chaplain, Doctor William Rawley, and Ben Jonson both attest his philosophic and poetic accomplishments. The former pays Bacon this remarkable tribute: "I have been enduced to think that if there were a beame of knowledge derived from God upon any man in these modern times, it was upon him. For though he was a great reader of books; yet he had not his knowledge from books but from some grounds and notions from within himself. " (See Introduction to the Resuscitado.)

Sir Francis Bacon, being not only an able barrister but also a polished courtier, also possessed that intimate knowledge of parliamentary law and the etiquette of the royal court revealed in the Shakespearian plays which could scarcely have been acquired by a man in the humble station of the Stratford actor. Lord Verulam furthermore visited many of the foreign countries forming the background for the plays and was therefore in a position to create the authentic local atmosphere contained therein, but there is no record of William Shakspere's ever having traveled outside of England.

The magnificent library amassed by Sir Francis Bacon contained the very volumes necessary to supply the quotations and anecdotes incorporated into the Shakespearian plays. Many of the plays, in fact, were taken from plots in earlier writings of which there was no English translation at that time. Because of his scholastic acquirements, Lord Verulam could have read the original books; it is most unlikely that William Shakspere could have done so.

Abundant cryptographic proof exists that Bacon was concerned in the production of the Shakespearian plays. Sir Francis Bacon's cipher number was 33. In the First Part of King Henry the Fourth, the word "Francis" appears 33 times upon one page. To attain this end, obviously awkward sentences were required, as: "Anon Francis? No Francis, but tomorrow Francis: or Francis, on Thursday: or indeed Francis when thou wilt. But Francis."

Throughout the Shakespearian Folios and Quartos occur scores of acrostic signatures. The simplest form of the acrostic is that whereby a name--in these instances Bacon's--was hidden in the first few letters of lines. In The Tempest, Act I, Scene 2, appears a striking example of the Baconian acrostic:

"Begun to tell me what I am, but stopt
And left me to a bootelesse Inquisition,
Concluding, stay: not yet.

The first letters of the first and second lines together with the first three letters of the third line form the word BACon. Similar acrostics appear frequently in Bacon's acknowledged writings.

The tenor of the Shakespearian dramas politically is in harmony with the recognized viewpoints of Sir Francis Bacon, whose enemies are frequently caricatured in the plays. Likewise their religious, philosophic, and educational undercurrents all reflect his personal opinions. Not only do these marked similarities of style and terminology exist in Bacon's writings and the Shakespearian plays, but there are also certain historical and philosophical inaccuracies common to both, such as identical misquotations from Aristotle.

"Evidently realizing that futurity would unveil his full genius, Lord Verulam in his will bequeathed his soul to God above by the oblations of his Savior, his body to be buried obscurely, his name and memory to men's charitable speeches, to foreign nations, to succeeding ages, and to his own countrymen after some time had elapsed. That portion appearing in italics Bacon deleted from his will, apparently fearing that he had said too much.

That Sir Francis Bacon's subterfuge was known to a limited few during his lifetime is quite evident. Accordingly, stray hints regarding the true author of the Shakespearian plays may be found in many seventeenth century volumes. On page 33 (Bacon's cipher number) of the 1609 edition of Robert Cawdry's Treasurie or Storehouse 

A BACONIAN SIGNATURE.
A BACONIAN SIGNATURE.

From Alciati Emblemata.

The curious volume from which this figure is taken was published in Paris in r618. The attention of the Baconian student is immediately attracted by the form of the hog in the foreground. Bacon often used this animal as a play upon his own name, especially because the name Bacon was derived from he word beech and the nut of this tree was used to fatten hogs. The two pillars in the background have considerable Masonic interest. The two A's nearly in the center of the picture--one light and one shaded--are alone almost conclusive proof of Baconian influence. The most convincing evidence, however, is the fact that 17 is the numerical equivalent of the letters of the Latin farm of Bacon's name (F. Baco) and there are 17 letters in the three words appearing in the illustration.

FRANCIS BACON, BARON VERULAM, VISCOUNT ST. ALBANS.
FRANCIS BACON, BARON VERULAM, VISCOUNT ST. ALBANS.

From Bacon's Advancement of Learning.

Lord Bacon was born in 1561 and history records his death in 1626. There are records in existence, however, which would indicate the probability that his funeral was a mock funeral and that, leaving England, he lived for many years under another name in Germany, there faithfully serving the secret society to the promulgation of whose doctrines he had consecrate his life. Little doubt seems to exist in the minds of impartial investigators that Lord Bacon was the legitimate son of Queen Elizabeth and the Earl of Leicester.

p. 167

of Similes appears the following significant allusion: "Like as men would laugh at a poore man, if having precious garments lent him to act and play the part of some honourable personage upon a stage, when the play were at an ende he should keepe them as his owne, and bragge up and downe in them."

Repeated references to the word hog and the presence of cryptographic statements on page 33 of various contemporary writings demonstrate that the keys to Bacon's ciphers were his own name, words playing upon it, or its numerical equivalent. Notable examples are the famous statement of Mistress Quickly in The Merry Wives of Windsor: "Hang-hog is latten for Bacon, I warrant you"; the title pages of The Countess of Pembroke's Arcadia and Edmund Spenser's Faerie Queene; and the emblems appearing in the works of Alciatus and Wither. Furthermore, the wordhonorificabilitudinitatibus appearing in the fifth act of Love's Labour's Lost is a Rosicrucian signature, as its numerical equivalent (287) indicates.

Again, on the title page of the first edition of Sir Francis Bacon's New Atlantis, Father Time is depicted bringing a female figure out of the darkness of a cave. Around the device is a Latin inscription: "In time the secret truth shall be revealed." The catchwords and printer's devices appearing in volumes published especially during the first half of the seventeenth century were designed, arranged, and in some cases mutilated according to a definite plan.

It is evident also that the mispaginations in the Shakespearian Folios and other volumes are keys to Baconian ciphers, for re-editions--often from new type and by different printers--contain the same mistakes. For example, the First and Second Folios of Shakespeare are printed from entirely different type and by different printers nine years apart, but in both editions page 153 of the Comedies is numbered 151, and pages 249 and 250 are numbered 250 and 251 respectively. Also in the 1640 edition of Bacon's The Advancement and Proficience of Learning, pages 353 and 354 are numbered 351 and 352 respectively, and in the 1641 edition of Du Bartas' Divine Weeks pages 346 to 350 inclusive are entirely missing, while page 450 is numbered 442. The frequency with which pages ending in numbers 50, 51, 52,53, and 54 are involved will he noted.

The requirements of Lord Verulam's biliteral cipher are fully met in scores of volumes printed between 1590 and 1650 and in some printed at other times. An examination of the verses by L. Digges, dedicated to the memory of the deceased "Authour Maister W. Shakespeare," reveals the use of two fonts of type for both capital and small letters, the differences being most marked in the capital T's, N's, and A's, (Seethe First Folio.) The cipher has been deleted from subsequent editions.

The presence of hidden material in the text is often indicated by needless involvement of words. On the sixteenth unnumbered page of the 1641 edition of Du Bartas' Divine Weeks is a boar surmounting a pyramidal text. The text is meaningless jargon, evidently inserted for cryptographic reasons and marked with Bacon's signature--the hog. The year following publication of the First Folio of Shakespeare's plays in 1623, there was printed in "Lunæburg" a remarkable volume on cryptography, avowedly by Gustavus Selenus. It is considered extremely probable that this volume constitutes the cryptographic key to the Great Shakespearian Folio.

Peculiar symbolical head- and tail-pieces also mark the presence of cryptograms. While such ornaments are found in many early printed books, certain emblems are peculiar to volumes containing Baconian Rosicrucian ciphers. The light and dark shaded A is an interesting example. Bearing in mind the frequent recurrence in Baconian symbolism of the light and dark shaded A and the hog, the following statement by Bacon in hisInterpretation of Nature is highly significant: "If the sow with her snout should happen to imprint the letter A upon the ground, wouldst thou therefore imagine that she could write out a whole tragedy as one letter?"

The Rosicrucians and other secret societies of the seventeenth century used watermarks as mediums for the conveyance of cryptographic references, and books presumably containing Baconian ciphers are usually printed upon paper bearing Rosicrucian or Masonic watermarks; often there are several symbols in one book, such as the Rose Cross, urns, bunches of grapes, and others.

At hand is a document which may prove a remarkable key to a cipher beginning in The Tragedy of Cymbeline. So far as known it has never been published and is applicable only to the 1623 Folio of the Shakespearian plays. The cipher is a line-and-word count involving punctuation, especially the long and short exclamation points and the straight and slanting interrogation points. This code was discovered by Henry William Bearse in 1900, and after it has been thoroughly checked its exact nature will be made public.

No reasonable doubt remains that the Masonic Order is the direct outgrowth of the secret societies of the Middle Ages, nor can it be denied that Freemasonry is permeated by the symbolism and mysticism of the ancient and mediæval worlds. Sir Francis Bacon knew the true secret of Masonic origin and there is reason to suspect that he concealed this knowledge in cipher and cryptogram. Bacon is not to be regarded solely as a man but rather as the focal point between an invisible institution and a world which was never able to distinguish between the messenger and the message which he promulgated. This secret society, having rediscovered the lost wisdom of the ages and fearing that the knowledge might be lost again, perpetuated it in two ways: (1) by an organization (Freemasonry)

A CRYPTIC HEADPIECE.
A CRYPTIC HEADPIECE.

From Ralegh's History of the World.

Many documents influenced by Baconian philosophy--or intended m conceal Baconian or Rosicrucian cryptograms--use certain conventional designs at the beginning and end of chapters, which reveal to the initiated the presence of concealed information. The above ornamental has long been accepted as of the presence of Baconian influence and is to be found only in a certain number of rare volumes, all of which contain Baconian cryptograms. These cipher messages were placed in the books either by Bacon himself or by contemporaneous and subsequent authors belonging to the same secret society which Bacon served with his remarkable knowledge of ciphers and enigmas. Variants of this headpiece adorn the Great Shakespearian Folio (1623); Bacon's Novum Organum (1620); the St. James Bible (1611); Spencer's Faerie Queene (1611); and Sir Walter Ralegh's History of the World (1614) (SeeAmerican Baconiana.)

THE DROESHOUT PORTRAIT OF SHAKSPERE.
THE DROESHOUT PORTRAIT OF SHAKSPERE.

From Shakespeare's Great Folio of 1623.

There are no authentic portraits of Shakspere in existence. The dissimilarities the Droeshout, Chandos, Janssen, Hunt, Ashbourne, Soest, and Dunford portraits prove conclusively that the artists were unaware of Shakspere's actual features. An examination of the Droeshout portrait discloses several peculiarities. Baconian enthusiasts are convinced that the face is only a caricature, possibly the death mask of Francis Bacon. A comparison of the Droeshout Shakspere with portraits and engravings of Francis Bacon demonstrates the identity of the structure of the two faces, the difference in expression being caused by lines of shading. Not also the peculiar line running from the ear down to the chin. Does this line subtly signify that the face itself a mask, ending at the ear? Notice also that the head is not connected with the body, but is resting on the collar. Most strange of all is the coat: one-half is on backwards. In drawing the jacket, the artist has made the left arm correctly, but the right arm has the back of the shoulder to the front. Frank Woodward has noted that there are 157 letters on the title page. This is a Rosicrucian signature of first importance. The date, 1623, Plus the two letters "ON" from the word "LONDON," gives the cryptic signature of Francis Bacon, by a simple numerical cipher. By merely exchanging the 26 letters of the alphabet for numbers, 1 became A, 6 becomes F, 2 becomes B, and 3 becomes C, giving AFBC. To this is added the ON from LONDON, resulting in AFBCON, which rearranged forms F. BACON.

p. 168

to the initiates of which it revealed its wisdom in the form of symbols; (2) by embodying its arcana in the literature of the day by means of cunningly contrived ciphers and enigmas.

Evidence points to the existence of a group of wise and illustrious Fratres who assumed the responsibility of publishing and preserving for future generations the choicest of the secret books of the ancients, together with certain other documents which they themselves had prepared. That future members of their fraternity might not only identify these volumes bur also immediately note the significant passages, words, chapters, or sections therein, they created a symbolic alphabet of hieroglyphic designs. By means of a certain key and order, the discerning few were thus enabled to find that wisdom by which a man is "raised" to an illumined life.

The tremendous import of the Baconian mystery is daily becoming more apparent. Sir Francis Bacon was a link in that great chain of minds which has perpetuated the secret doctrine of antiquity from its beginning. This secret doctrine is concealed in his cryptic writings. The search for this divine wisdom is the only legitimate motive for the effort to decode his cryptograms.

Masonic research might discover much of value if it would turn its attention to certain volumes published during the sixteenth and seventeenth centuries which bear the stamp and signet of that secret society whose members first established modern Freemasonry but themselves remained as an intangible group controlling and directing the activities of the outer body. The unknown history and lost rituals of Freemasonry may be rediscovered in the symbolism and cryptograms of the Middle Ages. Freemasonry is the bright and glorious son of a mysterious and hidden father. It cannot trace its parentage because that origin is obscured by the veil of the superphysical and the mystical. The Great Folio of 1623 is a veritable treasure house of Masonic lore and symbolism, and the time is at hand when that Great Work should be accorded the consideration which is its due.

Though Christianity shattered the material organization of the pagan Mysteries, it could not destroy the knowledge of supernatural power which the pagans possessed. Therefore it is known that the Mysteries of Greece and Egypt were secretly perpetuated through the early centuries of the church, and later, by being clothed in the symbolism of Christianity, were accepted as elements of that faith. Sir Francis Bacon was one of those who had been entrusted with the perpetuation and dissemination of s the arcana of the superphysical originally in the possession of the pagan hierophants, and to attain that end either formulated the Fraternity of R.C. or was admitted into an organization already existing under that name and became one of its principal representatives.

For some reason not apparent to the uninitiated there has been a continued and consistent effort to prevent the unraveling of the Baconian skein. Whatever the power may be which continually blocks the efforts of investigators, it is as unremitting now as it was immediately following Bacon's death, and those attempting to solve the enigma still feel the weight of its resentment.

A misunderstanding world has ever persecuted those who understood the secret workings of Nature, seeking in every conceivable manner to exterminate the custodians of this divine wisdom. Sir Francis Bacon's political prestige was finally undermined and Sir Walter Ralegh met a shameful fate because their transcendental knowledge was considered dangerous.

The forging of Shakspere's handwriting; the foisting of fraudulent portraits and death masks upon a gullible public; the fabrication of spurious biographies; the mutilation of books and documents; the destruction or rendering illegible of tablets and inscriptions containing cryptographic messages, have all compounded the difficulties attendant upon the solution of the Bacon-Shakspere-Rosicrucian riddle. The Ireland forgeries deceived experts for years.

According to material available, the supreme council of the Fraternity of R.C. was composed of a certain number of individuals who had died what is known as the "philosophic death." When the time came for an initiate to enter upon his labors for the Order, he conveniently "died" under somewhat mysterious circumstances. In reality he changed his name and place of residence, and a box of rocks or a body secured for the purpose was buried in his stead. It is believed that this happened in the case of Sir Francis Bacon who, like all servants of the Mysteries, renounced all personal credit and permitted others to be considered as the authors of the documents which he wrote or inspired.

The cryptic writings of Francis Bacon constitute one of the most powerful tangible elements in the mysteries of transcendentalism and symbolic philosophy. Apparently many years must yet pass before an uncomprehending world will appreciate the transcending genius of that mysterious man who wrote the Novum Organum, who sailed his little ship far out into the unexplored sea of learning through the Pillars of Hercules, and whose ideals for a new civilization are magnificently expressed in the Utopian dream of The New Atlantis. Was Sir Francis Bacon a second Prometheus? Did his great love for the people of the world and his pity for their ignorance cause him to bring the divine fire from heaven concealed within the contents of a printed page?

In all probability, the keys to the Baconian riddle will be found in classical mythology. He who understands the secret of the Seven-Rayed God will comprehend the method employed by Bacon to accomplish his monumental labor. Aliases were assumed by him in accordance with the attributes and order of the members of the planetary system. One of the least known--but most important--keys to the Baconian enigma is the Third, or 1637, Edition, published in Paris, of Les Images ou Tableaux de platte peinture des deux Philostrates sophistes grecs et les statues de Callistrate, by Blaise de Vigenere. The title page of this volume--which, as the name of the author when properly deciphered indicates, was written by or under the direction of Bacon or his secret society--is one mass of important Masonic or Rosicrucian symbols. On page 486 appears a plate entitled "Hercules Furieux," showing a gigantic figure shaking a spear, the ground before him strewn with curious emblems. In his curious work, Das Bild des Speershüttlers die Lösung des Shakespeare-Rätsels, Alfred Freund attempts to explain the Baconian symbolism in the Philostrates. Bacon he reveals as the philosophical Hercules, whom time will establish as the true "Spear-Shaker" (Shakespeare).

TITLE PAGE OF THE FAMOUS FIRST EDITION OF SIR WALTER RALEGH'S HISTORY OF THE WORLD.
TITLE PAGE OF THE FAMOUS FIRST EDITION OF SIR WALTER RALEGH'S HISTORY OF THE WORLD.

From Ralegh's History of the World.

What was the mysterious knowledge which Sir Walter Ralegh possessed and which was declared to be detrimental to the British government? Why was he executed when the charges against him could not be proved? Was he a member of me of those feared and hated secret societies which nearly overthrew political and religious Europe during the sixteenth and seventeenth centuries? Was Sir Walter Ralegh an important factor in the Bacon-Shakspere-Rosicrucian-Masonic enigma? By those seeking the keys to this great controversy, he seems to have been almost entirely overlooked. His contemporaries are unanimous in their praise of his remarkable intellect, and he has long been considered me of Britain's most brilliant sons.

Sir Walter Ralegh--soldier, courtier, statesman, writer, poet, philosopher, and explorer--was a scintillating figure at the court of Queen Elizabeth. Upon this same man, King James--after the death of Elizabeth--heaped every indignity within his power. The cowardly James, who shuddered at the mention of weapons and cried like a child when he was crossed, was insanely jealous of the brilliant courtier. Ralegh's enemies, Playing upon the king's weakness, did not cease their relentless persecution until Ralegh had been hanged and his decapitated, quartered, and disemboweled body lay at their feet.

The title page reproduced above was used by Ralegh's political foes as a powerful weapon against him. They convinced James I that the face of the central figure upholding the globe was a caricature of his own, and the enraged king ordered every copy of the engraving destroyed. But a few copies escaped the royal wrath; consequently the plate is extremely rare. The engraving is a mass Rosicrucian and Masonic symbols, and the figures on the columns in all probability conceal a cryptogram. More significant still is the fact that the page facing this plate is a headpiece identical with that used in the 1623 Folio of "Shakespeare" and also in Bacon's Novum Organum.


Next: The Cryptogram as a factor in Symbolic Philosophy