Part 4 of Edward de Vere in Hamlet

This is my fourth post on Edward de Vere in Hamlet.

Just as a reminder, the hidden messages discussed in this blog are the “backward voice” of “the monster” with--

Foure legges and two voyces; a most delicate

Monster: his forward voyce now is to speake well of
his friend; his backward voice, is to vtter foule speeches,
and to detract…

--The character Stephano in The Tempest (Act 2, Scene 2).

The “four legs” of “the monster” (i.e., the First Folio) are the four columns of text seen on two facing pages of the First Folio of Shakespeare.  The “forward voice” of “the monster,” which “speak[s] well of his friend,” is the straight-forward reading of the plays.  The “backward voice” of “the monster” are the hidden messages contained in the play, which usually must be read backwards.

 

Note: Click on the image for a high-resolution version.

The following images show circles drawn on pages 260 and 261 of Hamlet.  The intersection points are slightly different in each image because one of the circles is shifted such that its center point moves from the word “Prince” to the word “Starre” in line 43 of the left-hand column of page 261 from the first image to the second.  The hidden messages at the intersection points are discussed in this post:

 

Part 3 of Edward de Vere in Hamlet (hiddenmessagesinshakespeare.com)

 

In this post, lines of different colors are drawn through the circle intersection points and from the centers of each circle through the intersection points.  The lines that are drawn point to more hidden messages.  (These two pages are densely packed with word play and hidden messages, so there are messages hidden just about everywhere; however, there is a structure to the messages that conforms with the colored lines in the images.)

 

The explanation of the first image is included on the image, so a more detailed explanation is not needed.  Here is the first image:

 

Note: Click on the image for a high-resolution version.

The explanation of the message for the second image is too extensive to fit in the margins of the image.  A more detailed explanation is provided here.  Some of the information here duplicates that provided with the image.

Note: Click on the image for a high-resolution version.

Starting from the upper left and moving down, and then moving to the upper right and moving down, the following is a description of the hidden messages seen in the image.

The highlighted text at the end of the green line is word play on the names “de Vere” and “Tudor.”

In context of the dialogue, the word “hard” means “harsh,” “stern,” or “severe,” and both of the last two are severus in Latin.  I am uncertain if the verus part of severus refers to the meaning of verus (real; true).  Se can mean “self,” as in the phrase per se.  If severus is severed (a hint to "sever us"?) into se- and -verus (and I don’t know if it is technically correct Latin), the words mean “I, myself, am true,” or “I am true to myself,” or “to thine own self be true” (Polonius, Act 1, Scene 3, Hamlet). 

“Repel,” meaning “drive back,” is trudo in Latin.  Rearranging the letters in trudo produces “Tudor.”

“Denied” also means rejected or disowned.  The Latin verb infitias eo means “deny” or “go to denials.”  If an allusion to this Latin verb is intended, eo would allude to Edward Oxenford (E.O.).

The word “access” means “a means of approach,” “an entrance” A door is a means of entrance. Therefore, the word “access” is word play alluding to “a door.” The next word, “to” (in “access to”), when added to “door,” results in “to door” (i.e., Tudor).  “Access” also alludes to accession to the throne of England and the fact that Edward de Vere was denied accession to the throne because he was the illegitimate son of Lady Elizabeth Tudor (later Queen Elizabeth) and Thomas Seymour, 1st Baron Seymour of Sudeley, Lord High Admiral.

The blue line points to the word “Moreover” beginning line 27.  The line includes the word “see,” and the letters “sey” appear in the next line (line 28).  This is straight-forward hiding of the name “Seymour.” The “over” in “Moreover” is word play on the name “de Vere.”  An

explanation of the text in the blue box was explained previously in another image.  (Try to go hunting for instances of ita, and “sey,” and “yes” in the text.  That and a whole lot more.)  See Part 3 of Edward de Vere in Hamlet (hiddenmessagesinshakespeare.com).

The purple line ends at this text:

“And sure I am, two men there are not living,

To whom he more adheres.”

These words encode another “C-more.” (Seymour). The word “adheres” is a clue to “add here.”  There are two men, Rosincrance and Guildensterne, to whom Hamlet, one man, adheres (2 + 1 = 3; C is the third letter of the alphabet).   Adhere the letter “C” to the word “more” produces “C-more” (Seymour).

The white line passes through the word “bring” and near the word “ye” (you).  The Latin word potare, an inflection of porto, means “to bring, carry.”  “To have”; “to bear” is avere in Latin.  Porto is a cognate with porta (door). “Ye” means “you,” which in Latin is tu.  Therefore, “ye...bring” is word play on the names “de Vere” and “Tudor” (“tu-door”).

At the bottom of page 260, the red line passes near or through the word “Art” in “I sweare I use no Art at all” and in “for I will use no Art.” (Of course, there is plenty of “art” being used here – the art of deception and of hiding things in plain sight [i.e., steganography].)  The word “Art” looks and sounds like “Ar-Tee” or “R-T.”  When the letters “R-T” are figuratively slid up the red line (i.e., upwards and backwards) the letters bump into line 53 of the left-hand column of page 261, at the line: “King. Do you think ‘tis this?”  When the word “you” is changed to the letter “U,” then “Do you” becomes “Do U,” and when “R-T” is added it becomes “TUDoR” (the name Tudor).  Sleight of hand?  I don’t think so.

Proceeding up the red line above line 53 of the left-hand column of page 261, the following text appears: 

A short Tale to make,

Fell into a Sadnesse, then into a Fast,

Thence to a Watch, thence into a Weaknesse,

Thence to a Lightnesse, and by this declension

Into the Madnesse whereon now he raues,

And all we waile for.

(highlighting and bold added).

These lines hide the name of Wales, a country in the United Kingdom.  When “waile” is combined with one letter “s” above it, the result is “wailes” (Wales).  Reading backwards from “we,” the result is “WE-ALL-ES” (i.e., Wales).  Therefore, because Hamlet is a Prince, the hidden message is that Edward de Vere, Hamlet’s analogue, was (or should have been) a Tudor and the Prince of Wales, the heir apparent to the throne of England.  However, because he was not acknowledged as Queen Elizabeth’s son, he was denied this title.

Following the red line upward it runs into text at line 26-29 of the right-hand column of page 261 that I already discussed in Part 3 of Edward de Vere in Hamlet.

Moving to the upper right of the image, the white line ends at the line “In the Lobby” (line 1 of the right-hand column of page 261).  Before it reaches this point, the white line passes through the text of Hamlet’s love letter to Ophelia at lines 1-25 of the left-hand column.  This letter deserves a post all to itself.  The white line passes through letters spelling “de Vere,” and also the word “Truth” and “the Sunne” (homonym of “son”).   The word “truth” is closely associated with Edward de Vere through his motto: Vero Nihil Verius (“Nothing truer than truth”).

Furthermore, Hamlet's letter has several number associations.  The main body of the letter begins on line 17, Edward de Vere’s earl number.  Beginning with the “O” in “O-phelia” (lines 10-11) in the address of the letter, there are four O’s or oh’s in the letter (i.e., Four-O; 40).  There are four capitalized letter D’s in the four appearances of the word “Doubt” (4-D; 40).  The numbers 17, 40, and 1740 are closely associated with Edward de Vere.  The last “oh” falls on line 22.  I won’t go into the possible significance of that number here.

Turning again to the line “In the Lobby” (line 1 of the right-hand column of page 261), the word “Lobby” means a portico or vestibule (L. vestibulum).  A vestibule is a small entrance hall or passage between the outer door and the interior of a house or building.  When Hamlet walks “in the lobby” later in the scene he is “out of doors.” That is, he goes outside (L. extra); he goes forth.  The letters in “out of doors” include letters that spell the name “Tudor[s].”  The letters from extra and “out of doors” include letters that spell “E. Oxford.”  The hidden message is that he is out of the Tudor line of succession due to his illegitimate birth.

The reference to “I’ll loose my daughter to him” also alludes to the idea of solving a puzzle.  The word loose can mean “to solve; explain.”  “The word solve was first recorded in 1400-50, from late Middle English solven, from Latin solvere ‘to loosen, free, release.’” See https://www.dictionary.com/browse/solve

At the end of the red line, Hamlet says “y’are a Fishmonger” to Polonius.  “Yare” is a nautical term (humorously appropriate for the “Fishmonger” [slang for baud] insult.  It is also used by the mariners in the opening scene of The Tempest.  In the archaic sense, “yare” means “ready, prepared.”  It can also mean agile or lively.  In the nautical sense, it means answering quickly to the helm; maneuverable. 

In Latin, “to live” is vivere; “to turn violently” (i.e., maneuver) is verso; and "to be ready" is preasentarius, which also means “true” (L. verum).  The word “were” (VVere) is obvious word play on the name “de Vere.” In Latin, “very,” “honest,” or “true” is verus; man is vir; and “worm” or “maggot” is vermis.  All of this is word play on the name “de Vere.”

At the intersection of the red, purple, and green lines, this exchange occurs:

   Ham. I sir, to be honest as this world goes, is to bee
one man pick'd out of two thousand.
   Pol. That's very true, my Lord.

This is a word puzzle.  In Latin, "out of" is foris, and it also means "out of doors." In the scene, Hamlet is walking out of doors in the “lobby” (i.e., a vestibule, portico, covered way, or gallery). Later in the scene Polonius asks Hamlet if he will "walk out of the air" (come indoors). It is an easy step to transform the letters in "out of doors" into "[out of the] Tudors."

The blue line points to the end of line 51 of the column (line 35 of the dialogue between Hamlet and Polonius) where the words “go backward” appear.  The 17th word counting backwards (L. rusum versum) (Edward de Vere’s earl number), is the word “your” at the end of line 49 (line 33 of the dialogue) where letters spelling “Tudor” appear.  As it so happens, 33 is the simple cipher of the letters in the name Bacon.