{"id":1103,"date":"2016-03-14T10:15:55","date_gmt":"2016-03-14T09:15:55","guid":{"rendered":"http:\/\/www.elizabethanpartsongs.nl\/wordpress\/?page_id=1103"},"modified":"2016-08-12T12:18:55","modified_gmt":"2016-08-12T10:18:55","slug":"of-cyphers","status":"publish","type":"page","link":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/shakespeare-1616-2016\/playwright-or-figurehead\/behind-the-frontman\/of-cyphers\/","title":{"rendered":"Of Cyphers"},"content":{"rendered":"

This part of the site deals with the Baconian authorship theory. Which\u00a0theory pivots on encrypted Bacon signatures in Shakespeare\u2019s Sonnets.\u00a0And in order to make sense of the evidence on these pages, a short\u00a0introduction to Baconian cryptology may be useful :<\/p>\n

Letters can be written as their index number from the alphabet. Which\u00a0makes it crucial to know that in Bacon\u2019s days \u2018J\u2019 was still regarded as an\u00a0extended \u2018I\u2019, and that U and V were different versions of the same letter.\u00a0As they still are in another letter : \u201cW\u201d = \u2018double U\u2019.<\/p>\n

Baconian research involves three encryption methods :<\/p>\n

—<\/span><\/p>\n

Simple cypher :<\/strong><\/p>\n

\n

A \u00a0 \u00a0B \u00a0 \u00a0C \u00a0 \u00a0D \u00a0 \u00a0E \u00a0 \u00a0F \u00a0 \u00a0G \u00a0 \u00a0H \u00a0 \u00a0I \u00a0 \u00a0K \u00a0 \u00a0L \u00a0 \u00a0M \u00a0 \u00a0N \u00a0 \u00a0O \u00a0 \u00a0P \u00a0 \u00a0Q \u00a0 \u00a0R \u00a0 \u00a0S \u00a0 \u00a0T \u00a0 \u00a0V \u00a0 \u00a0W \u00a0 \u00a0X \u00a0 \u00a0Y \u00a0 \u00a0Z
\n1 \u00a0 \u00a02 \u00a0 \u00a03 \u00a0 \u00a0 4 \u00a0 \u00a05 \u00a0 \u00a0 6 \u00a0 \u00a07 \u00a0 \u00a0 8 \u00a0 \u00a09 \u00a0 \u00a010 \u00a0 11 \u00a0 12 \u00a0 13 \u00a014 \u00a0 \u00a015 \u00a0 16 \u00a0 17 \u00a018 \u00a019 \u00a0 20 \u00a0 21 \u00a0 22 \u00a023 \u00a024<\/span><\/p>\n

Francis Bacon \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 67 \u00a0 + \u00a0 33 \u00a0 = \u00a0 100
\nF. Bacon \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a0 6 \u00a0 + \u00a0 33 \u00a0 = \u00a0 \u00a0 39
\nFrancis B. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0= \u00a0 \u00a0 67 \u00a0 + \u00a0 \u00a0 \u00a02 \u00a0 = \u00a0 \u00a0 \u00a069<\/p>\n

William Shakespeare \u00a0 \u00a0 \u00a0= \u00a0 \u00a074 \u00a0 + \u00a0103 \u00a0 = \u00a0 177
\nShakespeare – William \u00a0 = \u00a0 103 \u00a0 – \u00a0 \u00a074 \u00a0 \u00a0= \u00a0 \u00a0 29
\n<\/span>Will Shakespeare \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0= \u00a0 \u00a0 52 \u00a0 + \u00a0103 \u00a0 = \u00a0 155
\n<\/span>W. Shakespeare \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 21 \u00a0 + \u00a0103 \u00a0 = \u00a0 124
\n<\/span>William S. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 74 \u00a0+ \u00a0 \u00a0 18 \u00a0 = \u00a0 \u00a0 92<\/p>\n

Christopher Marlowe \u00a0 \u00a0 = \u00a0 \u00a0133 \u00a0 + \u00a0 81 \u00a0 = \u00a0 214
\n<\/span>Christopher – Marlowe \u00a0 = \u00a0 \u00a0133 \u00a0 – \u00a0 \u00a081 \u00a0 = \u00a0 \u00a0 52
\n<\/span>Kit Marlowe \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a038 \u00a0 + \u00a0 81 \u00a0 = \u00a0 \u00a0119
\n<\/span>Chr. Marlowe \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a028 \u00a0 + \u00a0 81 \u00a0 = \u00a0 109<\/p>\n

—<\/span><\/p>\n

Reverse Cypher<\/strong><\/p>\n

\u00a0A \u00a0 \u00a0B \u00a0 \u00a0C \u00a0 \u00a0D \u00a0 \u00a0E \u00a0 \u00a0F \u00a0 \u00a0G \u00a0 \u00a0H \u00a0 \u00a0I \u00a0 \u00a0K \u00a0 \u00a0L \u00a0 \u00a0M \u00a0 \u00a0N \u00a0 \u00a0O \u00a0 \u00a0P \u00a0 \u00a0Q \u00a0 \u00a0R \u00a0 \u00a0S \u00a0 \u00a0T \u00a0 \u00a0V \u00a0 \u00a0W \u00a0 \u00a0X \u00a0 \u00a0Y \u00a0 \u00a0Z\u00a0<\/span>\u00a0
\n<\/span><\/span>24 \u00a0 23 \u00a022 \u00a021 \u00a020 \u00a019 \u00a0 18 \u00a0 17 \u00a0 16 \u00a015 \u00a014 \u00a0 \u00a013 \u00a0 12 \u00a0 \u00a011 \u00a010 \u00a0 \u00a09 \u00a0 \u00a08 \u00a0 \u00a07 \u00a0 \u00a0 6 \u00a0 \u00a05 \u00a0 \u00a0 4 \u00a0 \u00a0 \u00a03 \u00a0 \u00a02 \u00a0 \u00a01<\/p>\n

\n

Francis Bacon \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 108 \u00a0 + \u00a0 92 \u00a0 = \u00a0200
\nF. Bacon \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a019 \u00a0 + \u00a0 92 \u00a0 = \u00a0 111
\nFrancis B. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0= \u00a0 \u00a0 108 \u00a0 + \u00a023 \u00a0 = \u00a0 131<\/span><\/p>\n

William Shakespeare \u00a0 \u00a0 \u00a0= \u00a0 101 \u00a0 + \u00a0172 \u00a0 = \u00a0 273
\nWill Shakespeare \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0= \u00a0 \u00a0 48 \u00a0 + \u00a0172 \u00a0 = \u00a0 220\u00a0
\n<\/span>W. Shakespeare \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a0 4 \u00a0 + \u00a0172 \u00a0 = \u00a0 \u00a0176\u00a0
\n<\/span>William S. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0101 \u00a0 + \u00a0 \u00a0 7 \u00a0 = \u00a0 \u00a0108<\/p>\n

Christopher Marlowe \u00a0 \u00a0 = \u00a0 \u00a0142 \u00a0 + \u00a0 94 \u00a0 = \u00a0 236
\n<\/span>Kit Marlowe \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a037 \u00a0 + \u00a0 94 \u00a0 = \u00a0 \u00a0131\u00a0
\n<\/span>Chr. Marlowe \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a047 \u00a0 + \u00a0 94 \u00a0 = \u00a0 \u00a0141<\/p>\n<\/div>\n<\/div>\n

—<\/span><\/p>\n

Kay (<\/strong>or Key) cypher :<\/strong><\/p>\n

\n

\u00a0A \u00a0 \u00a0B \u00a0 \u00a0C \u00a0 \u00a0D \u00a0 \u00a0E \u00a0 \u00a0F \u00a0 \u00a0G \u00a0 \u00a0H \u00a0 \u00a0I \u00a0 \u00a0K \u00a0 \u00a0L \u00a0 \u00a0M \u00a0 \u00a0N \u00a0 \u00a0O \u00a0 \u00a0P \u00a0 \u00a0Q \u00a0 \u00a0R \u00a0 \u00a0S \u00a0 \u00a0T \u00a0 \u00a0V \u00a0 \u00a0W \u00a0 \u00a0X \u00a0 \u00a0Y \u00a0 \u00a0Z\u00a0<\/span>
\n<\/span>\u00a027 \u00a028 \u00a029 \u00a030 \u00a031 \u00a032 \u00a0 33 \u00a034 \u00a035 \u00a010 \u00a0 11 \u00a0 12 \u00a0 13 \u00a014 \u00a0 \u00a015 \u00a0 16 \u00a0 17 \u00a018 \u00a019 \u00a0 20 \u00a0 21 \u00a0 22 \u00a023 \u00a024<\/span><\/p>\n

\n

Francis Bacon \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 171 \u00a0 + \u00a0111 \u00a0 = \u00a0282
\nF. Bacon \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a032 \u00a0 + \u00a0111 \u00a0 = \u00a0 143
\nFrancis B. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0= \u00a0 \u00a0 \u00a0171 \u00a0 + \u00a028 \u00a0 = \u00a0 199<\/span><\/p>\n

William Shakespeare \u00a0 \u00a0 \u00a0= \u00a0 152 \u00a0 + \u00a0259 \u00a0 = \u00a0 411
\nWill Shakespeare \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0= \u00a0 \u00a0 78 \u00a0 + \u00a0259 \u00a0 = \u00a0 337\u00a0
\n<\/span>W. Shakespeare \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 21 \u00a0 + \u00a0259 \u00a0 = \u00a0 \u00a0176\u00a0
\n<\/span>William S. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 152 \u00a0 + \u00a0 \u00a018 \u00a0 = \u00a0 \u00a0170<\/p>\n

Christopher Marlowe \u00a0 \u00a0 = \u00a0 \u00a0263 \u00a0 + \u00a0133 \u00a0= \u00a0 399
\n<\/span>Kit Marlowe \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a064 \u00a0 + \u00a0133 \u00a0 = \u00a0 197\u00a0
\n<\/span>Chr. Marlowe \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a080 \u00a0 + \u00a0133 \u00a0= \u00a0 213<\/p>\n

Bacon mentions Kay cypher in his Advancement of Learning<\/i> (1605). But\u00a0without an user\u2019s guide. This code was eventually broken by a certain W. E.\u00a0Clifton somewhere in the nineteenth or early twentieth century. And its\u00a0shows the devious nature of its inventor in the addition of letters 25 and\u00a026 : \u2018&\u2019 and \u2018et\u2019. A source of frustration to any code breaker who takes\u00a0an alphabet of 24 letters for granted.<\/p>\n

It also plugs safety leaks like \u201c27 – 13 – 30\u00a0 is the most frequent three\u00a0letter combination and therefore deciphers as A – N – D.\u201d But in this basic\u00a0version (Kay 2) it still pleases code breakers with observations like \u201c31 is\u00a0the most frequent letter, therefore 31 = E.\u201d The professional version of\u00a0Kay cypher therefore continues with K = 36. And K = 62 ; all the way up\u00a0through the 2-digits range. A method that encrypts signatures to a point\u00a0that they can no longer be recognized as such in the total of a given letter\u00a0sequence. If Kay cypher is mentioned, it therefore concerns Kay 2 cypher.<\/p>\n

Checking letter sequences in a parallel research on three different keys\u00a0is rather elaborate. And for good measure this research habitually\u00a0restricts itself to checking simple cypher sequences on decypherings in\u00a0each of these keys. The approach may be fundamentally wrong, but it\u00a0applies in a most natural way, and performs to satisfaction in my research. To rather convincing results even, because the\u00a0flawed method does not produce flaws in the logic that marks a hit on an intentional signature.<\/p>\n

Hits that may result from mere chance, as the fundamental flaw in this\u00a0type of research is its incapability to sift out the signatures that were not\u00a0intended as such. Reason to introduce a control group of Sonnets that can\u00a0be trusted to produce reliable statistics on the frequency of chance hits\u00a0in the average Shakespeare Sonnet. The test is identical to the research\u00a0on these pages, which covers the checked signatures in three encryptions,\u00a0counted from both sides, on subtotals in fourteen and fifteen line initials,\u00a0and also counted on Fibonacci lines only :<\/p>\n

Federico Garcia Lorca:<\/b> Soneto de la Guirnalda de las Rosas<\/i>
\n<\/span>Shakespeare : 3
\n<\/span> including a simple cypher \u2018W. Shakespeare\u2019 over a total of fourteen capitals.
\n<\/span>Bacon \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0: 2
\n<\/span>\u2018Francis Bacon\u2019 in both directions, as simple\u00a0cypher on \u2018Q\u2019.
\n<\/span>Marlowe \u00a0 \u00a0 \u00a0 : 6
\n<\/span>\u2018Kit Marlowe\u2019 in simple cypher in both directions,\u00a0symmetrically. And a reverse cypher \u2018Christopher\u2019\u00a0over a total of fifteen line initials.<\/p>\n

Arthur Rimbaud : <\/b>Voyelles<\/i>
\n<\/span>Shakespeare : 2
\n<\/span>including a simple cypher \u2018Will Shakespeare\u2019 over a\u00a0total of fourteen line initials.
\n<\/span>Bacon \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 : 1
\n<\/span> on a subtotal over fifteen
\n<\/span>Marlowe \u00a0 \u00a0 \u00a0 : 1
\n<\/span>on a subtotal over fourteen<\/p>\n

Fernando Pessoa :<\/b> Sonnet XIII<\/i>
\n<\/span>Shakespeare : 4
\n<\/span>in subtotals. Including a simple Cypher \u2018W. S\u2019 on \u2018I\u2019
\n<\/span>Bacon \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 : 1
\n<\/span> this \u2018F. Bacon\u2019 also deciphers as \u2018W. S\u2019 on \u2018I\u2019.
\n<\/span>Marlowe \u00a0 \u00a0 \u00a0 : 2
\n<\/span>Fibonacci lines from both directions on \u2018I\u2019<\/p>\n

Francesco Petrarca :<\/b> Al cader d’una pianta che si svelse<\/i>
\n<\/span>Shakespeare : –
\n<\/span>Bacon \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 : 2
\n<\/span>on Fibonacci lines
\n<\/span>Marlowe \u00a0 \u00a0 \u00a0 \u00a0: 2
\n<\/span>on subtotals<\/p>\n

Willem Kloos : <\/b>Ik ben een god in \u2018t diepst van mijn gedachten<\/i>
\n<\/span>Shakespeare : 4
\n<\/span>including a Kay cypher \u2018William S\u2019 over a total of\u00a0fifteen line initials. And two hits on \u2018I\u2019.
\n<\/span>Bacon \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 : 1
\n<\/span>subtotal on \u2018F. Bacon\u2019 or \u2018W. S.\u2019
\n<\/span>Marlowe \u00a0 \u00a0 \u00a0 : 3
\n<\/span>on subtotals
\n<\/span>The central \u2018I\u2019 on line 8 is signed \u2018Will\u2019 in the Golden Section. This\u00a0calculation by definition takes the first line\u2019s second initial into account,\u00a0and this brings the regular subtotal of this \u2018I\u2019 on \u2018William\u2019 in reverse\u00a0cypher. This can\u2019t be explained away as a mere coincidence, because the\u00a0author\u2019s Christian name is (Dutch for) \u2018William\u2019.<\/p>\n

Rainer Maria Rilke : <\/b>Sonnet an Orpheus<\/i> \u00a0
\n<\/span><\/span>Shakespeare : 2
\n<\/span>on subtotals. Also counted as Bacon signatures. \u00a0
\n<\/span><\/span>Bacon \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 : 4
\n<\/span>on subtotals \u00a0
\n<\/span><\/span>Marlowe \u00a0 \u00a0 \u00a0 \u00a0: 3
\n<\/span>on subtotals.
\n<\/span>Three lines at the centre (7, 8 & 9) are signed \u2018William S\u2019, \u2018Bacon\u2019 and\u00a0\u2018Francis\u2019 on initials that suggest to write \u2018us\u2019.<\/p>\n

A more basic method of encryption substitutes letters by letters. The\u00a0Baconian research on Shakespeare\u2019s Sonnets is already drowning in\u00a0signatures, and has no choice but to ignore the possibility, But that is no\u00a0excuse to leave the most basic of Kay cyphers unmentioned.<\/p>\n

THE\u00a0 QUICK\u00a0 BROWN\u00a0 FOX\u00a0 JUMPS\u00a0 OVER\u00a0 THE\u00a0 LAZY\u00a0 DOG<\/p>\n

A \u00a0 \u00a0B \u00a0 \u00a0C \u00a0 \u00a0D \u00a0 \u00a0E \u00a0 \u00a0 F \u00a0 \u00a0G \u00a0 \u00a0H \u00a0 \u00a0I \u00a0 \u00a0K \u00a0 \u00a0L \u00a0 \u00a0M \u00a0 \u00a0N \u00a0 \u00a0O \u00a0 \u00a0P \u00a0 \u00a0Q \u00a0 \u00a0R \u00a0 \u00a0S \u00a0 \u00a0T \u00a0 \u00a0V \u00a0 \u00a0W \u00a0 \u00a0X \u00a0 \u00a0Y \u00a0 \u00a0Z\u00a0<\/span>
\n<\/span>K \u00a0 \u00a0L \u00a0 \u00a0M \u00a0 N \u00a0 \u00a0O \u00a0 \u00a0P \u00a0 \u00a0Q \u00a0 \u00a0R \u00a0 \u00a0S \u00a0 \u00a0T \u00a0 \u00a0V \u00a0 \u00a0W \u00a0 \u00a0X \u00a0 \u00a0Y \u00a0 \u00a0 Z \u00a0 \u00a0A \u00a0 \u00a0B \u00a0 \u00a0C \u00a0 \u00a0D \u00a0 \u00a0E \u00a0 \u00a0 F \u00a0 \u00a0G \u00a0 \u00a0H \u00a0 \u00a0I \u00a0<\/span><\/span><\/p>\n

ALI\u00a0 DVSMO\u00a0 LBYMX\u00a0 PYR\u00a0 OKDSC\u00a0 YXQS\u00a0 COG\u00a0 ZKOM\u00a0 TED
\n<\/span><\/p>\n

\u2014<\/span><\/p>\n

\u2014<\/span><\/p>\n

Due to a barrage of spam, the comment option had to be disabled.<\/p>\n

Serious reply\u2019s will be copied to this page from the link below<\/p>\n

enter a comment<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

This part of the site deals with the Baconian authorship theory. Which\u00a0theory pivots on encrypted Bacon signatures in Shakespeare\u2019s Sonnets.\u00a0And in order to make sense of the evidence on these pages, a short\u00a0introduction to Baconian cryptology may be useful : … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1056,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/1103"}],"collection":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/comments?post=1103"}],"version-history":[{"count":5,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/1103\/revisions"}],"predecessor-version":[{"id":1219,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/1103\/revisions\/1219"}],"up":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/1056"}],"wp:attachment":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/media?parent=1103"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}