Shakespeare and the Mysteries

Clarence tells us of King Edward's mysticism in these terms:

"Hearkens after prophecies and dreams;
And from the cross-row plucks the letter G."
- Shakespeare, Richard III, I, 1.

The Mysteries, wrapped as they are around the Alphabet, become revealed plainly with a bit of knowledge. In the above passage, the "Letter G" clearly maintains some relative import. Further, that Clarence is "hearkening" after "prophecies and dreams" speaks of the shamanic element to acquisition of the core the Mysteries. That Clarence plucks from the cross bow "the Letter G", and Odin "spies the runes", are but another example of Occult transpositions. Each is dealing with the use of "altered states" of consciousness to penetrate the Mystery of the Letters.

The Cross-row and the Alphabet

The 1913 unabridged edition of Webster's dictionary has a very definition for the crossrow:

Crossrow \Cross"row`\ (-r?`), n.
1. The alphabet; -- called also Christcross-row.

And from the crossrow plucks the letter G. -- Shak.

To prove the point, a very simple line was taken from Shakespeare, wherein the Letter G is plucked from same. However, what few noticed was that Shakespeare was describing a particular set of rules to deciphering the Mysteries as they lay embedded into the evolving English Language.

The Letter G was being plucked for a reason, for it is a critical key to the larger philosophical construction based on numbers.

The Letter C, located as it is as Position Number 3, combined as it is with the Letter T, which rests at a position of 4, creates the Letter of G. The Letter G, resting as it is at number 7, reveals that 3+4=7. The "G" hides 2 of the Letters to the Sacred Alphabet, the Letter C and the Letter T, as well as their esoteric, or Occult positions (see the Isisian Code matrix at the bottom of this blog).

Aside from the mathematical coding being set into the Letter G, the plucking of the Letter G reveals a simple secret to how to decipher words from a basic esoteric construct. The Letter G is showing that is it is a composite conceptual symbol, itself enshrined into the Masonic "Square and Compass". The Letter C is as the Compass, while the Letter T is as "the Square". Each of these symbols, C and T, are set against each other into conceptual philosophical dance.

In the case of the C, it is as the Sphere of the Earth, and in the case of the Letter T, it is as the day of the Equinoxes, when the Sun passes the Equator and hence the days and the nights of equal value. The conceptual must be understood implicitly to grasp the Conceptual, which become as the apperception of the conceptual.

That the C is a circle and the T is as a measurement of a vertical height is as a plane to a perpendicular. In the case of the C, it is as the "plane of the Earth", and becomes the mythological "Garden of Eden", while the T is as the Sun, seen as it does as an apparent rising and falling in a vertical rise and fall in an arc across the sky.

This dimensional perception is hidden into the Letters, or the philosophical construct through the merging of two distinct geometric concepts fused further to astronomic observation of the Universe as viewed from a planet.

By "plucking" letters from words, we create the same concept melded into the very fabrication of the language. One such example is the word COVER.

COVER = C-OVER

The Letter C is created by the shadow of the Earth as it "covers", or passes over, the surface of the moon. Hence the Letter C as a process of its fabrication and philosophical construction is described in the word "C-OVER". This very philosophical truth was used to promote the Mel Gibson movie, "Apocalypto".

Summation as an Esoteric Strategy

When one looks at the names of the seasons, WINTER, SPRING, SUMMER, and FALL, the observations for the reason behind the names from a philosophical perception is simple.

The word SOLSTICE hides it's specific construction. SOL'S-T is the Summer Solstice while T-ICE is the Winter Solstice. Hence the word "SOLSTICE" hides its esoteric construction. During the month of June, summer will appear at the end of the sign of the TWINS. Again, pluck the first letter from the word to reveal T-WIN, hop the T to the bottom of the word to reveal WIN-T, and you can see that T-WIN and WIN-T is really an esoteric code for the Summer and Winter Solstice.

TWIN hides the esoteric construction through the plucking of the Letter T from the "crossrow" and reusing the precise letter.

SPRING deals effectively as it implies. The Sun, having recoiled to the WINTER SOLSTICE, "springs" back up into the sky, and so we have "SPRING" being linked to the hopping up of the Sun as a spring that has been compressed and coiled. Remove the C from COILED to reveal C-OIL, reverse the OIL to form LIO, and reference to the Serpent as a symbol of the Sun as Leo reveals itself.

As the Sun reaches the Summer Zenith, its noon position as a daily measurement (as well as its position at sunrise and sunset) will begin to "FALL" as part of an X-Y graph.

SUMMER, however, is a mathematical term. SUM.

Shakespeare hints of the use of Summation in The First Part of King Henry IV

PRINCE HENRY

O monstrous! eleven buckram men grown out of two!

FALSTAFF

But, as the devil would have it, three misbegotten
knaves in Kendal green came at my back and let drive
at me; for it was so dark, Hal, that thou couldst
not see thy hand.

PRINCE HENRY

These lies are like their father that begets them;
gross as a mountain, open, palpable. Why, thou
clay-brained guts, thou knotty-pated fool, thou
whoreson, obscene, grease tallow-catch,--

FALSTAFF

What, art thou mad? art thou mad? is not the truth
the truth?

The operative phrase here is "from two doth come 11", a reference to the use of two 1's as in II to also have a value of 11. The process from which the statement presents itself describes a series of summation steps.

FALSTAFF

Nay, that's past praying for: I have peppered two
of them; two I am sure I have paid, two rogues
in buckram suits. I tell thee what, Hal, if I tell
thee a lie, spit in my face, call me horse. Thou
knowest my old ward; here I lay and thus I bore my
point. Four rogues in buckram let drive at me--

PRINCE HENRY

What, four? thou saidst but two even now.

FALSTAFF

Four, Hal; I told thee four.

POINS

Ay, ay, he said four.

FALSTAFF

These four came all a-front, and mainly thrust at
me. I made me no more ado but took all their seven
points in my target, thus.

The power of the summation in Gematria set against English is critical to comprehending many a formula. Examples as SUN, INRI, DIOS, among others, provide examples of this.

What Shakespeare is saying is that there are basic truths. That it was "so dark" is a reference to the Typhonian/Jehovian world. The truth can be had through a comprehensive understanding of the mathematical formulas encoded into the language. These basic truths, encoded against a mathematical structure, become self evident for anyone able to see.

That S has a value of 3 and N has a value of 5, we can see readily that the Letter U is derived (or set against) the 21 position, which is the Sum of 1:6.
That "vaya con dios" means "Go with God" in translation, but literally means "go with the days", hints further that Dios is linked more closely to Abraxas, whose value is well know to be 365, and so DIOS too should be expected to reveal the same value, which it does when you apply values of letters as a process of summation.

D = 4 = 10
I = 9 = 45
O = 15 = 120
S = 19 = 190

DIOS = 10+45+120+190 = 365

The Intuitive Nature of Esoteric English

Of course, in depth research into Shakespeare would reveal that Shakespeare was and remains a composite operation and not the workings of a single individual. Most complex works are aggregated into a single body of work and then secreted, often through the use of a single name. Joseph Smith of the Mormons, Aleister Crowley of Thelema are but two classic examples of a marketing point man designed to release a larger construct.

Those who were responsible for encoding and embedding the truth worked tirelessly to leave traces of same throughout history. The rise and fall of a cultures wardrobe, for instance, could leave clues. The Bow Tie or Victorian dress each reveal subtle Occult signatures.

Relatively simple and intuitive mathematical formulas linked to structural intuitive foundations could break words up into several ciphers, each revealing double and triple meanings, each and everyone true in and of themselves, yet none of them revealing the core esoteric meaning. Intuitive genius would prevent all but the most dedicated to truly pierce the early inner workings, and patterns would not begin to reveal themselves until the words that would make the language became more and more refined.

An anonymous Masonic author wrote,

"Letters are symbols of sounds. The letter X is a symbol of the sound EKS. It is also the Roman numeral signifying ten; in mathematics it signifies any unknown quantity. Thus it means different things in different places. The school boy struggling with algebra does not think of X as meaning ten or a part of the word extra, or example; to him it means a number he must find. If on the title page of a book you read "Published MCMX" you understand the book was printed in 1910; the X here is not EKS, nor is it a number to be found by algebraic calculation. The meaning depends here on the location, and the use."

This is an excellent insight into the nature and design of the Construct.

"You have made good work, you and your apron." - Coriolanus, IV, 6:96. - Shakespeare

Sometimes those who worked to conceal worked also to ensure that what was concealed could be revealed, and in times like these, when to tell the truth is revolutionary, efforts to reveal the truth are the true sparks of light on an otherwise surface of the ocean in the middle of the night.