The Privy Council Accredits the Memes : William Shakespeare wasActually a bit of a Writer...

To the Memory of My Beloved the Author, Mr. William Shakespeare and What He Hath Left Us

By Ben Jonson

Prefatory verse to "Mr. William Shakespeares Comedies, Histories, & Tragedie" (1623), commonly known as the First Folio.

"Will! Mr. Henslowe! Gentlemen, all! A black day for us all. There is news from a tavern in Deptford. Marlowe is dead. Stabbed. Stabbed to death in a tavern at Deptford."

"Edward Alleyn" : He was the first man among us... A great light has gone out...

Good frend for Jesus sake forebeare,
To digg þe dust encloased heare.
Blese be þe man þat spares þes stones,
And curst be he þat moves my bones.

- "William Shakespeare", Epitaph

Mark Twain : "All the rest of [Shakespeare's] vast history, as furnished by the biographers, is built up, course upon course, of guesses, inferences, theories, conjectures — an Eiffel Tower of artificialities rising sky-high from a very flat and very thin foundation of inconsequential facts"

George Bernard Shaw: "It would be positively a relief to me to dig him up and throw stones at him."

Henry James : "I am 'sort of' haunted by the conviction that the divine William is the biggest and most successful fraud ever practiced on a patient world."

Walt Whitman : "Conceived out of the fullest heat and pulse of European feudalism—only one of the 'wolfish earls' so plenteous in the plays themselves, or some born descendant and knower, might seem to be the true author of those amazing works".

Charlie Chaplin: "In the work of the greatest geniuses, humble beginnings will reveal themselves somewhere but one cannot trace the slightest sign of them in Shakespeare.... Whoever wrote [Shakespeare] had an aristocratic attitude".

Sigmund Freud: "I no longer believe that ... the actor from Stratford was the author of the works that have been ascribed to him."

DOLLY WALKER WRAIGHT: He has got a very unusual gesture there, the folded arms, which show that, "I am one who keeps secrets." He had joined the secret service. This was his celebration of becoming a servant of the queen in the secret service, which was the greatest secret service in the Elizabethan time. And he did his work to great satisfaction because the Privy Council have written this letter, giving him the accolade of having served his country.

MICHAEL RUBBO: In fact, Marlowe was in some trouble. The university didn't want to graduate him because he'd missed some school and they suspected that he'd been off in France as a Catholic traitor. That is, until they got a stern letter from the Privy Council saying, "Give him his degree."

CHARLES NICHOLL, Author of "The Reckoning": There are the names of the privy councilors actually present at the meeting, among which were noted as the Lord Archbishop Whitgift, the Lord Chancellor.

MICHAEL RUBBO: [on camera] So all of these important people are signing a letter on the behalf of humble young Christopher.

CHARLES NICHOLL: Yes, exactly. They are.

MICHAEL RUBBO: That's amazing, isn't it?

CHARLES NICHOLL: Yeah. Exactly. They are.

MICHAEL RUBBO: So they really-

CHARLES NICHOLL: [reading] "Whereby he had done Her Majesty good service, and deserved to be rewarded for his faithful dealing."

MICHAEL RUBBO: [voice-over] This is Vlissingen, in Holland, another place where Marlowe, the secret agent, got into trouble. He was arrested here for counterfeiting coin and could have been executed.

PETER FAREY: But that's what was reported. Whether he was actually doing that or not, we don't know. It's usually assumed that he was on some sort of government business. And that's something to do with the funding of the Catholics and finding out how they were being funded, and so forth. But he got reported, was sent back as a prisoner to England, and-

MICHAEL RUBBO: [on camera] It was a capital offense.

PETER FAREY: That's right. Petty treason. Sent back, and- to Lord Burleigh. And we don't know exactly what happened to him, but we know that within a few months, a very few months, he was free.

MICHAEL RUBBO: But there's still the problem of Ben Jonson and his praise for Shakespeare, the writer - because Ben is the weak- the Achilles heel of the anti-Shakespeare case, in a way, because-

JOHN BAKER: Yes, that's true.

MICHAEL RUBBO: Because he does seem to know Shakespeare.

JOHN BAKER: Yeah, and he certainly would have. He would have known the whole- there's no way that Ben Jonson, you know, if you think about this, wouldn't have known that the actor didn't write Shakespeare.

MICHAEL RUBBO: He had to know that.

JOHN BAKER: He had to know that.

MICHAEL RUBBO: And yet in his memoirs he never mentions that, and he talks about Shakespeare as a writer.

JOHN BAKER: He does. Indeed he does.

MICHAEL RUBBO: Isn't that the thing that saves Shakespeare?

JOHN HUNT: I don't think it saves Shakespeare. Ben Jonson was dependent on the support and the patronage of the Pembroke family. He received quite a bit of money from them. Ben Jonson will not come out and say Shakespeare was a fake. Ben Jonson was on the payroll of the William Herberts. They were- and Ben Jonson knew of this fakery. There's no question in my mind that Jonson knew of this fakery. How could he not know of it? They walked in the same circles.

MICHAEL RUBBO: So he was keeping the secret, you mean.

JOHN HUNT: He kept the secret.

SUE HUNT: I mean, the other problem I have is that because it was a very closed society - I mean, the aristocratic, Elizabethan society was quite small, and quite limited and everyone knew each other - I can't imagine- I kind of feel that if Marlowe was sending plays back, someone would have known.

JOHN HUNT: His silence was being bought for 50 pounds.

SUE HUNT: Whenever there's silence, people talk. Whenever silence is a premium, people talk.

MICHAEL RUBBO: Well, all we can say to that is that Shakespeare looks so plausible. He was a writer of some sort, and he put his mark on these works, so that, in fact, he claimed ownership of them by modifying them, or by- and he was perhaps the director of that.

SUE HUNT: Authorship wasn't- yes, that's true. Authorship wasn't the same-

MICHAEL RUBBO: By directing them, by bringing them to the stage, he, in fact, claimed them.

DOLLY WALKER WRAIGHT: Well, that is a big assumption, Michael. That is just an assumption.

MICHAEL RUBBO: Yes, sure.

DOLLY WALKER WRAIGHT: It's just a theory with no evidence at all.

MICHAEL RUBBO: Put yourself in his shoes. You're not going to-

DOLLY WALKER WRAIGHT: Yes, but you don't have to bring in the idea and put the idea to the minds of a lot of innocent people who would never have thought of it before that William Shakespeare was really a bit of a writer.

MICHAEL RUBBO: All right. Well, just tell me, though, how it worked. OK, Shakespeare receives in the post, from Marlowe or from Walsingham, a new play, OK? What does he say?

DOLLY WALKER WRAIGHT: He presents the play, having received it-

MICHAEL RUBBO: To his partners.

DOLLY WALKER WRAIGHT: -to his partners as something which is valuable stock.

MICHAEL RUBBO: And they'd say, "When are you getting another one? We need another play."

DOLLY WALKER WRAIGHT: Oh, not necessarily.

MICHAEL RUBBO: And then they'd say, "Are we going to publish this one or not?" I mean, there would be lots of questions to ask.

DOLLY WALKER WRAIGHT: There weren't any. They weren't published.

MICHAEL RUBBO: They were later. I mean, if he's the owner of the plays-

DOLLY WALKER WRAIGHT: Oh, for goodness sake. How many probables are you going to add?

He must have written it.

Look, it has his picture in it, right at the front.

To draw no envy, Shakespeare, on thy name,

Am I thus ample to thy book and fame;

While I confess thy writings to be such

As neither man nor Muse can praise too much.

’Tis true, and all men’s suffrage. But these ways

Were not the paths I meant unto thy praise;

For seeliest Ignorance on these may light,

Which, when it sounds at best, but echoes right;

Or blind Affection, which doth ne’er advance

The truth, but gropes and urgeth all by chance;

Or crafty Malice might pretend this praise,

And think to ruin where it seem’d to raise.

These are as some infamous bawd or whore

Should praise a matron. What could hurt her more?

But thou art proof against them, and, indeed,

Above the ill-fortune of them, or the need.

I, therefore, will begin. Soul of the age!

The applause, delight, the wonder of our stage,

My Shakespeare, rise! I will not lodge thee by

Chaucer, or Spenser, or bid Beaumont lie

A little further, to make thee a room:

Thou art a monument without a tomb,

And art alive still, while thy book doth live,

And we have wits to read, and praise to give.

That I not mix thee so, my brain excuses;

I mean, with great but disproportion’d Muses.

For, if I thought my judgment were of years,

I should commit thee, surely, with thy peers.

And tell how far thou didst our Lyly outshine,

Or sporting Kyd, or Marlowe’s mighty line.

And though thou hadst small Latin and less Greek,

From thence, to honour thee, I would not seek

For names; but call forth thund’ring Aeschylus,

Euripides, and Sophocles to us,

Paccuvius, Accius, him of Cordova dead

To life again, to hear thy buskin tread

And shake a stage; or when thy socks were on,

Leave thee alone, for the comparison

Of all that insolent Greece or haughty Rome

Sent forth; or since did from their ashes come.

Triumph, my Britain! Thou hast one to show

To whom all scenes of Europe homage owe.

He was not of an age, but for all time!

And all the Muses still were in their prime,

When, like Apollo, he came forth to warm

Our ears, or, like a Mercury, to charm.

Nature herself was proud of his designs,

And joy’d to wear the dressing of his lines,

Which were so richly spun, and woven so fit

As, since, she will vouchsafe no other wit.

The merry Greek, tart Aristophanes,

Neat Terence, witty Plautus, now not please;

But antiquated and deserted lie,

As they were not of Nature’s family.

Yet must I not give Nature all! Thy art,

My gentle Shakespeare, must enjoy a part.

For though the Poet’s matter Nature be

His art doth give the fashion. And that he

Who casts to write a living line, must sweat

(Such as thine are), and strike the second heat

Upon the Muses’ anvil, turn the same

(And himself with it), that he thinks to frame;

Or for the laurel he may gain a scorn!

For a good Poet’s made as well as born;

And such wert thou! Look how the father’s face

Lives in his issue; even so, the race

Of Shakespeare’s mind and manners brightly shines

In his well-turnèd and true-filèd lines;

In each of which he seems to shake a lance

As brandish’d at the eyes of Ignorance.

Sweet Swan of Avon! what a sight it were

To see thee in our water yet appear,

And make those flights upon the banks of Thames

That so did take Eliza, and our James!

But stay, I see thee in the hemisphere

Advanc’d, and made a constellation there!

Shine forth, thou star of poets, and with rage

Or influence, chide, or cheer the drooping stage;

Which since thy flight from hence hath mourn’d like night,

And despairs day, but for thy volume’s light.

"I send you the foul sheet and the fair I was writing"

A foul sheet from Christopher Marlowe's, The Massacre at Paris (1593). 

Reproduced from Folger Shakespeare Library Ms.J.b.8

PBS Frontline - Much Ado About Something from Spike EP on Vimeo.

"All they that love not tobacco and boys are fools."

Remark attributed to Marlowe from the testimony of Richard Baines,
a government informer, 1593.

"Paedophiles can boldly and courageously affirm what they choose ... I am also a theologian and as a theologian, I believe it is God's will that there be closeness and intimacy, unity of flesh, between people ... paedophiles can make the assertion that the pursuit of intimacy and love is what they choose. With boldness, they can say, 'I believe this is in fact part of God's will.'"

Ralph Underwager, 'expert' witness for the defense in scores of child abuse cases and former vocal member of the False Memory Syndrome Foundation, in an interview in Paidika (a pro-pedophilia publication), conducted in June 1991

'The Pedophocracy' is term coined by David McGowan. It is the title of his book on the subject of pedophilia as an Elite habit and one of the main tools of control of the visible ruling elites, by those not so visible.

Of all human vices and perversions, pedophilia is probably judged the most shameful and outrageous in the public mind. It thus has vast potential as a source of control.

This is a deeply disturbing subject. In similar fashion to the proposition that elements of the State use terrorist false-flag attacks against their own populations to further their agendas, the public at large simply cannot accept that the very worst depravities of child sexual abuse could be systematically cultivated and used by those same elements as a calculated and deliberate means of Machiavellian control. Many people simply do not want to be told such things - which renders them all too readily reassured by the odd sacrificial minnow. Outrage is thus indulged for a while before relapse into the consensus trance of everyday routine, where fear of strangers and the dark are relegated to the subconscious and the odd bad dream.

To be enlisted to the 'Pedophocracy Novitiate' so-to-speak is a temptation difficult for the psychopathic personality type that aspires to power to decline. To become a 1st degree member is to sell one's soul - and there are probably thirty-odd higher degrees each capable of 'making an offer that cannot be refused' by their 'juniors'. Standard military discipline simply cannot hold a candle to it; Special Forces/SIS-type skills and disciplines clearly make extensive use of the victims of it.

There is a large body of information available on the internet for those with the stomach for it. The deeper the investigation, the greater the unpleasant realisation that the phenomenon is so fundamentally ingrained in Western Establishment power structures that to pursue the truths of the matter is as potentially dangerous as it is stomach churning.