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An example of the allegory at work




The foundation of alphabetical encryption is that each cipher letter must be linked uniquely to another letter at its every instance. Just so, in the First Folio allegory, is every character yoked to his principle at his every appearance without exception, - bearing in mind that characters of the same name often appear in several plays, - as I have demonstrated as exhaustively as reasonably possible in UDGCB. The very rare exceptions only prove the rule: such as Montague, who bears in 1-3HVI, though not Romeo and Juliet, the value of the visual imagination; and perhaps Gloucester, who is always the Gnostic ideal – a Solomon/Alexander/Christ figure – except in RIII, where he is the polar opposite, the ego dominated by the anathematised underworld, or that underworld itself. For this reason, the argument of UDGCB may be termed the theory of the Baconian Double Helix: for just as in molecular DNA adenosine can only bind to thymine, and cytosine to guanine, so in the plays each character may bind to his principle and no other, to form the nuclei of the magnificent organism of the First Folio.


The character of Peter is an instructive example. It perhaps will not surprise you that he bears always the value of the Roman Catholic Church, which plays a key role in FF: for Bacon blames the rise of the Puritan tyranny fairly and squarely on the brutal suppression by Rome of the Gnostic tradition, firstly as the inheritance of the Jerusalem Church in the early centuries of Christianity, later as the Gnostic revival as Renaissance Neoplatonism/Christian Cabalism, which flowered in Florence in the late 15C under the patronage of Lorenzo de Medici (the source, incidentally, of Friar Laurence in The Two Gentlemen of Verona), to culminate in the burning at the stake in the Vatican of Giordano Bruno in 1600.


1-3HVI form a sophisticated and closely wrought allegory of the rise of Puritanism in the psyche and the broader society. Its explication, which forms the first three chapters of UDGCB, is entirely independent of any questions of authorship, and may well prove to be the Judith to penetrate the fastness of orthodox scholarship. Central to the trilogy is the Roman Catholic Church, in the character of the Bishop of Winchester, and also Peter, as opposed to the Gnostic tradition (Gloucester). The wisdom of the latter is based upon intellectual engagement with the world that lies unseen below the surface of things, realm of the Queen of Hell-Grail Queen, the axial personage of FF, represented here by Eleanor Duchess of Gloucester (unsurprisingly), and Queen Margaret. Whereas the Gnostic ideal has brought the underworld under control, and transcended passion in his own life, the Catholic remains bound to it, its abject vassal. This point is made repeatedly by the technique, with which we are by now thoroughly familiar, of the substitution of “I” for the expected “Ay”, to symbolise the ithyphallos-libido, more broadly the unseen world. The “I” principle is associated consistently in 1-3HVI with the Catholic principle. The altercation in 1-3HVI between Peter (Pauline Christ) and Thomas (the doubter) is laden with significance for the rise of Puritanism.


Another beautiful instance is in R&J II, iv, where Peter gives the Nurse a fan to hide her face. The Nurse is yet another Queen of Hell-Grail Queen of FF, and the fan portrays the masking of Her true nature by Rome. These, and the many other instances of Peter in FF, are fully explicated in UDGCB.


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