SUICIDE (felo de se): “I’m Ed Vere. My FATE is to hang, my ending is despaire. Myself: FELO, ere long be free. My hell is the torture of my minde.”

The theme of suicide in The Tempest and in Timon of Athens appear to be mirror each other, especially since both settings (ciphertext-speaking), take place on an island (Mersea).  I’ve included arrays from both:

Dante, Dore, Inferno, Circle 7, Canto 13, pic.

The Tempest (1621), 1.1., Ed Veer is mad, is to be hang'd, #1Fig. 1:                            “Ed Veer is mad, and is to die, to be hang’d.”

The Tempest (1623), 1.1., Tree, fate, the rope, #2Fig. 2

Timon (1605-1608), 4.3., FELO, doubtfully prounced, large confusion, #3Fig. 3

Timon (1605-1608), 4.3., HANG, E.C.O.nfusion, #4Fig. 4

The Tempest (1623), 5.1., FELO, thou shalt be free, #5Fig. 5

The Tempest (1623), 5.1., Felo myselfe, #6Fig. 6

Tempest (1623), Epilogue, Vere, my ending is despaire, #7Fig. 7

The Tempest (1623), 5.1., HANG, be free, #8Fig. 8

Timon (1605-1608), 5.1., Vere's gravestone, #9Fig. 9:                   The gravestone is the ciphertext within the plaintext.

Timon (1605-1608), 5.3., Ed Vere, this, his grave, #10Fig. 10:          Again, the grave is the play as well as Oxford’s Signature array:

            “This (the ciphertext) is Ed de Vere’s grave.”

Timon, 4.3., felo, madnesse, the conflicting elementsFig. 11

Timon, 4.3., Hell, Hell, Hell, the bleak chamber (suicidal ideation)Fig. 12

   The 7th Circle of Hell is Violence, and is broken down into 3 rings: (1) violence against others; (2) violence against oneself (ie., a felo de se), the suicides; and (3) violence against God. Each sufferer, in each of the 3 rings, is forced to wade in the Phlegethon, a river of boiling blood and fire.

   The suicides of Canto 13 are cast into the Forest of Suicides. Dante’s thinking was that since those who tore themselves away from the body God gave them, they spend eternity as gnarled trees or bushes, and have their flesh (their ‘leaves’, since they are trees) torn from them by harpies, creatures with bird-like bodies and the head of a woman. It is only through the pain of having their bodies torn apart can they lament their woes and plights.

   The “conflicting elements” mentioned in the plaintext, and the phrase’s reference to them in the ciphertext, is the hell of Vere’s mind, the “bleak . . . chamber” where he obsesses and ruminates on whether he should “be or not to be”. It is probable the suicidal thoughts that took place in his mind were kept a secret from others, hidden within his plays, and confessed through ciphertexts that only those “in-the-know” were allowed to be privy.

   The symmetry of the ciphertext is remarkable: the 3 “hell”s accompanied by 3 “thy”s associated with them; the 3 rings of Violence; the 3 words metaphorically representing Vere’s tortured mind and reasoning about whether he should free himself from his woes through suicide (“the bleak chamber”), is both visually apparent as well as subliminal.

   A further signature of Vere’s authorship of the plaintext and ciphertext can be seen in Array 22. Notice that the 7-letter vertical letter-string is in Column 17–again perhaps the subliminal, yet also specific, signature which pervades all the canon and poetry of “Shakespeare/Vere”: placement of the number 17 (Vere’s title as 17th Earle of Oxenforde) as either in a Row of 17 or a Column of 17.

   After recording the presence of the latter, deliberate design overpowers coincidence in my mind.

V. XXVII. MMXV       

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