(  To the Reader:  If you like this play, be sure to read Macbeth, King Lear, Othello, and other plays that could not have been written because the author was dead.  By the way, my name is Edward de Vere, Seventeenth Earle of Oxenforde, author of the Shakespeare canon.  You can find my name in dozens, if not hundreds, of works attributed to my pen name, William Shakespeare.  For example, see if you can find my name in Sonnet 76. )  

Hamlet  (Folio 1, 1623, Rosencrantz to Hamlet, 2.2. 1307 – 1308):

“Truely, and I hold Ambition of so ayry and light a quality, that it is but a shadowes shadow.”

   I have designed this section to be a repository of findings from multiple sources that seem to be on the edge of appearing valid and having been created by intelligent  design.  These findings do not necessarily follow any order of presentation or issue.  I have many arrays that do not fit neatly into categories, but are nevertheless interesting, and worthy of further attention.  Most of the arrays came as the result of following leads and hunches, but may be largely coincidence and serendipity.  When they ‘appear’, I file them into a note folder, (a personal treasure box) I keep, and occasionally return to them for further investigation.  I enjoy them all, and hope you do as well.

   Sonnet 53 has always drawn me back to a definition, an etymology, of the word “shadow”.  The word itself has evolved over time, as many words do.

Sonnet 53, Plaintext, JPEG

                                                                          Fig. 1

“Shadow” in Old English, continuing to Middle English, carried a connotation of ‘shade’, ‘protection’, or ‘cover’.  This obviously still works.  It can also be used to: imply, be an image of something, a reflection, a hint, a faint semblance.  It seems the Shakespeare canon is filled with so many examples of noticeable word play that the question of Shakespeare-upon-Avon being the author of the works attributed to him has given birth to parallax views based heavily on the puns,  metaphors, and references haunting, not only works considered definitely by “Shakespeare”, but other writings as well.  In fact, Oxfordian, Baconian, Marlovian, and other groups featuring these and others considered as contenders for Shakespeare authorship exist fundamentally because of these hints and suggestions that point to one writer or another.  These shadows persist, and their number in the Shakespeare canon feel to me like puzzle pieces that, given time and validation, will form an indisputable “person” or “persons” casting so many shadows that their presence is ghostlike.  And, in the literal sense, all shadows are attached to something or someone.  

   Here is a “shadow” in Sonnet 53:

Sonnet 53, Shaddowes, JPEG

                                                                          Fig. 2

   Several syntactical arrangements are possible, but the message in the cluster is the same.  As an interrogatory:  (Question)  “Whereof are you made?”  (Answer) “I’m hidden as a shadow (here, in the plaintext).  Vere, E.C.O. (Edwardus Comes Oxoniensis).”   Is this a “hint”, a “reflection”, a “shadow” to be noticed?  That, since this can be seen in an equidistant letter sequence at a skip of 55, that there are others as well?

   I believe the uncovered letter-strings and clusters are pictorial shadows, are signatures meant to be found, signatures and messages encrypted using letter sequences of equidistance, one to the other.

Spear JPEG right

                                                                       Sonnet 21




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