ACT 3: Vere alive, Vere is the likeness of ANNE BOLEYN, Confession as “Will S.”,

   Despite much research into the question of what Anne Boleyn looked like, there is, to date, no certainty as to which of the many portraits of her is considered to be an authentic likeness. No big surprise. Even in an age of photography, when an image taken at some point in time of a person can be demonstrated or proved to be an authentic image of the face of a person, the image (s) taken in different circumstances and time periods more often than not can “seem” to be pictures of an entirely different individual. Today, facial recognition software uses multi-dimensional correlations of specific features to arrive at a definitive identification between or amongst more than one video source (digital or other video sources such as celluloid images produced by 35 mm cameras or slides).

   Generally speaking, facial recognition algorithms make such “certain” or “near-certain” face recogntions by analyzing relative: facial and cranial shapes; positions of eyes, noses and cheekbones; jaw shapes and positions, to demonstrate how two or more images of a person are the same, and therefore can be said with certainty that one or more pictures are in fact images of the same individual. As a character, Anne Boleyn is understandably in only one of Shakespeare’s plays: Henry the Eighth (First Folio, 1623). She is given eighteen discrete ‘speeches’, three in Act I and fifteen in Act II. I was not able to find any letter-strings in Anne’s lines, but did find the following remarkable one in Act III, Scene II that does give a written picture ( as a cluster) of a statement unmistakeably identifying Edward de Vere as having a strong resemblance to Anne Boleyn. If one considers Edward de Vere as the illigitimate son of Elizabeth I, then a likeness to Anne Boleyn is not surprising as he would be the grandson of Anne Boleyn. This letter-string and cluster is the only one I have found to date that implies what Edward de Vere may have looked like. We know artists (most notably Leonardo da Vinci and Michelangelo) made meticulous measurements of faces and other objects so as to give a realistic and accurate, near photographic likenesse, of what or who was being painted:

Henry 8, Ed VERE, ANNE BULLEN'S visageFig. 1  (5.9.14)

Henry 8, VERE, Ed, living nowFig. 2

   The history play we know as Henry VIII was first published in the First Folio of 1623 under the title, The Famous History of the Life of King HENRY the Eight. The first documented performance of Henry VIII was on June 29, 1613, although there are anecdotal reports it had been presented two or three times before this date, although just where is unknown.

   Until its publication in 1623, Henry VIII was known as All is True. Since my emphasis concerns the presence of letter-strings and clusters as internal evidence of Edward de Vere’s signature as either or both author and/or contributor, I see this title as a word play on Vere’s name, as vere in Latin means truth or true; i.e., All is True = All is VERE.

   Noteworthy is that the first documented performance of All is True is also when The Globe theater burned to the ground. Source material states that during Act One, a cannon misfired, sending sparks atop the Globe’s thatched roof, setting the roof and wooden beams ablaze. No injuries were reported. The Globe fire is documented in several contemporary sources as actually having taken place, notably a description of it by Sir Henry Wotton in a letter dated July 2, 1613.

   Most intriguing to me, though, is a poem written the next day after the fire, entitled A Sonnet upon the Pitiful Burning of the Globe Playhouse in London, possibly written by William Parrat (See commentary notes. The poem can be read by following this link to the University of Toronto Libraries). The array below may perhaps be little more than coincidence, but the strategic placement (location) of both letter-string and top and bottom horizontal words suggest the letter-string and cluster are by intelligent design:

Henry 8, poem written a day after the Globe fire, 1613Fig. 3

   Note that the last word (“auditorye”) in line 11 of the poem (“Mongst such an auditorye”) is followed by “regarding”.  The ciphertext syntax thus reads that the “auditorye” (that is, the “audience”), from the point of view of the poem’s author, includes himself as an eyewitness.  William Parrat, if indeed the poem’s author, was reportedly anti-theater, and may possibly have been in-the-know as to Edward de Vere’s contributions to the play.  The cluster, however, suggests the clamor during the fire refers to Vere; i.e., the clamor is “regarding” (“about”) Edward de Vere, sans doubte” (Fr., “without a doubt”).

   Further suggested is that Edward de Vere was still alive at the time of the fire, as indicated by letter-string and cluster shown in Fig. 2:  Ed Vere, now living.”

   The above poem (called a “Sonnet” by the author of the verse, but is in all probability a ballad possibly written by William Parrat the day after the Globe fire) is intriguing for its ciphertext.  To read more about this 56 line ballad, click here.

V. XI. MMXIV

Henry 8, EREVEER must forever hid pen, Act 3Fig. 4

Henry 8, Erle ereVere, Act 3Fig. 5

Henry 8, Lord DEVERRE is heir, Act 3Fig. 6

Henry 8, VAERE'S secret  (pathos), Act 3Fig. 7

Henry 8, words are VERE,Ed, Act 3Fig. 8

Henry 8, VAERE, O. rest. BETH, E.R., Act 3Fig. 9

Vere’s Farewell from the Stage (as Will S.):

Henry 8, Vere's Farewell, VERE, ME, WILL S., Act 3Fig. 10

Henry 8, SO TEST VERE, beare witnesse, Act 3Fig. 11

Henry 8, VERE:VEER, mine ageFig. 12

Henry 8, VERE, take an inventory, last pen, Act 3Fig. 13      

 

 

V. XIII. MMXIV           

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