The Secret Evidence of Who Wrote the Shakespeare Canon:
Edward de Vere's Name, Title, and Heraldry Etched
Throughout the First Folio's Droeshout Frontispiece
by William J. Ray
“Shakespeare” has been assumed by Western culture to have been depicted in the Droeshout Portrait at the frontispiece of the Shakespeare canon of plays called the First Folio. (1623)
But, in keeping with the Renaissance artistic practice of suffusing portraits with telling symbolism, this work was executed cleverly, to provide bait for the gullible. It contains all the 17th Renaissance tools of secret messaging to the few and the knowing: the equilateral triangle, the structural circle, the numerical and linguistic pun, the optical illusion, and dense use of the Golden Section.
The background structure of the Droeshout Portrait turns out to be a pattern of geometric angles
and line-lengths that closely resembles the Vere mullet, the five-pointed star for which the
Vere line was famous. Edward de Vere (pictured above) was the pseudonymous but presently
denied author of the Shakespeare canon. The plays mirror his tragic life. Only he in his time had the motivation, the means, the opportunity, the aristocratic experience, and the prodigal gifts of the Renaissance man of genius so evident in the Shakespeare canon.
In addition to the Vere-like star, the background structure features four circles (three of
them 4" in diameter, the other 3" in diameter). These are obvious puns on the Vere sur-
name, since vier is four in German cardinal nomenclature, and the circles communicate alphabetic
O's to symbolize (O)xford.
The compressed “4-0” signal of the four/vier/Vere circles is a repeated feature of the Droeshout
engraving and indeed of the canon literature. Four cries of O occur when the protagonist dies at the very end of Hamlet. Twice there are four O’s, beginning and end, in King Lear. Four ad hoc “I haves”, ho in Italian and pronounced “O” in English punctuate the Lucrece dedicatory epistle. It is plausible that “40” was Oxford's code-name in a stealthy succession correspondence with James I, “40” being the only number higher than James's own, "30". James had admired him from childhood and dedicated a poem to him.
The triumph of Droeshout's art is that he successfully employed deep geometric armatures for identity purposes but still managed to depict a half-way human looking figure. I say half-way, because there is no natural Golden Ratio in the face, none, whereas there are over thirty in the human face. The structural geometry objective made natural representation secondary.
The major telltale hint: the head's center-point at the inside left eye centers a circle that
touches crown and chin. In the human face, the Golden Section of the eye-to-hairline distance equals the distance from that eye-point to the lower gum level. We cannot locate a hairline on the Droeshout figure. It is an unanatomical bulge. The Golden Ratio is accurately reflected in all Renaissance art except the Droeshout.
Therefore no natural man, Niemand, is portrayed in the Droeshout Portrait. The mock-face had
to conform to the 3"-4"-5" geometry of the star and to the 4-O’s signal associated with Vere, the 17th Earl of Oxford.
Nevertheless, the true author continues to remain invisible and anonymous culturally. Only symbolically, through use of Renaissance artistic geometry and metaphoric use of number, was his identity fixed on the First Folio title-page for all future time.
Modern culture, once conditioned to the mythic narrative of the common man becoming the exemplar and conscience of his race––a noble thought but having nothing to do with the money-lender from Stratford named Shakspere––has not yet opened its eyes to what is on the page—or connected the author’s life and thought as integral sources of the works.
For further study, resources are listed here: Hank Whittemore, Roger Stritmatter, Katherine Chiljan, Ramon Jimenez, Richard Whalen, Bonner Miller Cutting, Earl Showerman, Alexander Waugh, Charles Beauclerk, Richard P. Roe, David L. Roper, Richard Malim, Noemi Magri, Steven Steinburg, The Shakespeare Oxford Fellowship, and wjray.net (Shakespeare Papers).
2006 Shakespeare Identified lecture by William J. Ray and Mike A'Dair uploaded to the Producers Youtube here:-
Video Produced by Pistachio Films LLC
Shot in Studio of Willits Community Television Inc, Cable Access Willits, California:-
Willits Community Television Inc, is the local Cable Access PEG TV station for Willits California residents. Channels available on Comcast in Willits, on Channel 3, 64 & 65.