Promus of Formularies and Elegancies by Francis Bacon

The Promus of Formularies and Elegancies is a personal and private notebook containing a collection of phrases and terms written in Francis Bacon's own handwriting. "Promus" means larder or storehouse and this notebook seems to have been a collection of words to be used at a later time in some other literary work. Bacon wrote his notes in several different languages throughout his notebook. The original manuscript of Bacon's Promus is at the British Museum in the Harleian Collection (No. 7,017). We deduce that it was written about 1594-6, because folio 85 is dated December 5, 1594 and folio 114 is dated January 27, 1595. Pictured here is folio 85 showing Bacon's handwriting, its date, and the translation. This notebook was unknown to the public for about two hundred years, until Mrs. Henry Pott reproduced and published it for the first time in 1883. 

Mrs. Henry Pott

What is so significant about Francis Bacon's notebook is that the terms and phases in his notebook appear in the plays attributed to William Shakespeare and additionally in the known, acknowledged works of Bacon. 

Edward D. Johnson, from his book, The Shaksper Illusion, says, "Francis Bacon's Promus is by itself sufficient evidence to show that the man who wrote the Promus also wrote the "Shakespeare" Plays. The most important evidence in the Promus is the word ALBADA, Spanish for good dawning (Folio 112).  This expression good dawning' only appears once in English print, namely, in the play of King Lear where we find "Good dawning to thee friend," Act 2, Scene 2. This word ALBADA is in the Promus 1594-96 and King Lear was not published until the 1600's. If Will Shaksper had not seen the Promus, and as he could not read Spanish, it would mean that some friend had found this word ALBADA, meaning good dawning and told Shaksper about it, and that Shaksper then put the word into King Lear, which sounds highly improbable. A part of one of the folios in the Promus is devoted by Bacon to the subject of salutations such as good morrow, good soir, good matin, bon jour, good day. From this it would appear that Bacon wished to introduce these salutations into English speech. These notes were made in the Promus in 1596 and it is a remarkable coincidence that in the following year 1597 the play of Romeo and Juliet was published containing some of these salutations, and they afterwards appeared in other "Shakespeare" plays, good morrow being used 115 times; good day, 15 times; and good soir (even), 12 times. These words are found in the ''Shakespeare'' plays and nowhere else."

The following are just a few examples of the many parallelisms between Bacon's notes in the Promus and lines from the Shakespeare plays: 

Bacon                    A fool's bolt is soon shot          Promus 106

Shakespeare        A fool's bolt is soon shot          Henry V, 3/7

Bacon                    Seldome cometh the better        Promus 472

Shakespeare        Seldome comes the better          Richard III, 2/3

Bacon                    All is not gold that glisters        Promus 477

Shakespeare        All that glisters is not gold        Merchant of Venice, 2/7

Bacon                    All is well that ends well        Promus 949

Shakespeare        All's well that ends well         All's Well That Ends Well

Bacon                    Good wine needs no bush        Promus 517

Shakespeare        Good wine needs no bush        As You Like It, Epilogue

Bacon                    Happy man, happy dole        Promus 940

Shakespeare        Happy man be his dole          Merry Wives of Windsor

Did Queen Elizabeth never sign the death warrant of Mary Queen of Scots?

History tells us that Queen Elizabeth signed the death warrant for Mary Queen of Scots, but told her secretary William Davison not to part with the document. Queen Elizabeth suggested on several occasions that Mary should be executed in some more secret way and, frankly, did not want another Queen's blood on her hands. She had Mary Queen of Scots in confinement for almost 20 years because she was hesitating to do anything drastic. History continues to say that Lord Burghley and the privy council decided to carry out the sentence at once and executed Mary on 8th February 1587. Queen Elizabeth was indignant when she received the news of the execution. She directed her wrath on Davison asserting that he did not follow her instructions to hold onto the document. Davison was tried, fined heavily, imprisoned, but later released. The Queen refused to employ him again and he died in 1608 after retiring to Stepney.
Francis Bacon had written a play in cypher called "The Historical Tragedy of Mary Queen of Scots" which contradicts the history books by saying that she did not sign the death warrant at all. An excerpt from this play is as follows:

Act V, Scene 1.--Palace of the Queen, Elizabeth and train.
     Q.E. "Fie, what a slug is Warwick, he comes not To tell us whether they will that she shall die or no. Ah! In good time here comes the sweating lord." (Enter Warwick.)
He announces the decision of "guilty." Enter Lords of Council; they present Elizabeth the warrant for Mary's death. She does not sign it.
     Q.E. "My lord, I promise to note it cunningly; But here come the ambassadors of our brothers of France and Spain."
Enter ambassadors, who plead for the life of Mary.
Scene 2.--Street in London. Enter Burleigh and Secretary of the Queen (Davison); met by Leicester. All enter a public house.

Scene 3.--Private room; Burleigh and Leicester force the Secretary to forge the Queen's name to the warrant for Mary's execution.


So which is true? Did Elizabeth really sign the document but use Davison as the scapegoat? She feared that Spain and France would combine forces to overthrow her reign and the death of Mary would be an event to initiate such forces. One would have to closely examine this signature with a signature known to be Queen Elizabeth's to determine if this one was indeed forged.

Was Amy Robsart's death suicide, accident or murder?

Amy Robsart was the wife of Robert Dudley. They married in 1550. She lived at Cumnor Place, Berkshire, while her husband attended court as Queen Elizabeth's master of the horse and the Queen's favorite. On Sept. 8th, Amy Robsart was found lying dead at the foot of the staircase with her neck broken. At the time of Amy's death, Queen Elizabeth was pregnant with Francis Bacon, Dudley's child. Elizabeth and Dudley were married previously while incarcerated in the Tower during Queen Mary's reign, but Dudley was married. In order to legitimize the child, the couple would need to marry when Dudley was not tied. Interestingly, the couple marry for a second time about two weeks after Amy Robsart's death. "Francis was born in the January following, Dudley marrying the Queen privately at the House of Lord Pembroke at the end of September." (Dodd, Alfred, The Marriage of Elizabeth Tudor, Rider & Co., London, 1940.)
Alfred Dodd writes in his book, The Marriage of Elizabeth Tudor, "It was generally believed at the time that she was murdered, and that Dudley, if not Elizabeth herself, was an accessory to the crime. This belief receives some support from certain discoveries made in the archives at Simancas, which indicate that a plot to poison her was actually entered into before her death. (Chambers's Encyclopaedia, Vol. VI, p. 566.)"
Robert Dudley rarely visited his wife and because of his neglect she spiraled into despair and depression. She most likely was aware of Dudley's ambitions and the Queen's high regard for him. In addition, she was said to have been ill with possibly breast cancer. All of these combine to form an unhappy, lonely person. It was a Sunday and she sent all the servants into town for a festival that was happening that day. When they returned, they found her at the bottom of the staircase. Did she throw herself down the stairs in hopes of throwing her life away? Did she just chance to slip and fall? Did Elizabeth's Secretary, William Cecil, Dudley's enemy, start rumors of murder and intentionally loosen the railing spindles in hopes that Amy would lean on them and fall?
Francis Bacon wrote some lines in cypher pertaining to the death of Amy Robsart. The following is an excerpt from Orville Owen's Sir Francis Bacon's Cipher Stories, Vol. II:
"Some did cry, 'Ayme! Ayme!'
'This, by his voice, should be my lord,' said she, And from the great chamber to the landing ran; And thinking the pillars steadfast and firmly stay'd, Did lean upon the rail and there awhile As on a pillory looking through she stood; But it, not capable to sustain a rush Or the impressure of her palm, went down. On the slippery standing She tremblingly a moment stood and cried to heaven; Then from human help exiled, with earnest moan She on the sudden headlong dropt Down, down, down to the hard court beneath, And her neck asunder broke And all the bowels in her body brast."

Robert Cecil Murdered Queen Elizabeth Tudor

I came across a very interesting account of an incredible story of murder in a cypher written by Francis Bacon. The cypher story tells of how Robert Cecil drugged Queen Elizabeth and then strangled her to death. The cypher story can be found in the book, Sir Francis Bacon's Cipher Stories, Part 2, by Orville W. Owen, pp174-189, Howard Publishing Co., New York, 1894.
The above picture shows Robert Cecil, 1st Earl of Salisbury, (1 June 1563 -- 24 May 1612). who was the son of William Cecil, 1st Baron Burghley. Robert Cecil served Queen Elizabeth as her Secretary of State and he later served James I.
The excerpt I found is as follows: 

". . . At the end her death was miserable, Terrible and revolting to human nature, In that her melancholy desire of life And impatience of sickness Wore the appearance of lunacy."
"Stay a little, your lordship. I think you mentioned that Cecil Rid her of life. Hasten on to the account. Come, come sir! It is unseasonable and puerile hurry To snatch at the first apple that comes within reach; For though it be true that this beast, By the sufferance of the highest King of kings, By the skillful use of poison did disable her, And then by violent means bereft her of life.. . . "
Francis Bacon is having a discourse with the physician who attended Queen Elizabeth. He recounts their conversation in the cypher as follows:
"Didst thou, doctor, hear this singular speech?"
"O, yes, I heard all, and more too. I heard Master Cecil say, 'Let her not live.' Then they come unto me and commanded me to begone. So I yield, being sore dismayed, And go lamenting out. And I fear me That they killed her after I was expelled."
"But, loyall sir, Was not someone else there? Didst thou leave these varlots alone with her?"
"There was a lady, sir, near her."
"Indeed! What may be her name?"
"I did hear her called Grace."
"I sought out this maid And call at her house, which doth stand By Christ Church, and said to her, 'I hear you did chance to see The death of the queen?'"
"Why, sir, why, man, I understand you not. Speak softly. I will be lost, quite lost, If that devil knew mine eyes Did see him slaying her. Who told you , sir?"
"Be patient; I am loathe to tell you Whence it come, But I must know the truth; therefore Dally not with me, But give me the cruel story."
"Sir, give me leave, I beseech you, To show it by some mighty precedent. Some three ages since the king Had a servant that served him Long and faithfully. Well, one night 'T is said, sir, this good man's life Was taken by his foe."
"But how? Say how. Show not how quaint an orator you are, But answer; who was the man?"
"Sir, you that are so shrewd, cannot you guess Humphrey, Duke of Gloucester's name?"
"Upon my soul, They did kill him in bed."
"Thus didst he, our sovereign, With his hands about the circle of her neck, The villain did stifle her, Sealing the sweet breath that was embounded In her beautious clay."
"Did he with his hands Choke his dear lady sovereign?"
"These two eyes beheld this evil murder."
"I pray thee, what did the creature do first?"
"After the physician had hurried out He locked the doors."
"List to me; If the doors were locked and you Shut out, how did you see?"
"I was not shut out. I did not go when they bid us to, But hid myself under the desk That's covered with Turkish tapestry, Which stands in her chamber, Where I saw The whole vile murder committed. O, dear heaven! I saw him cast her on her back, And in spite of her bootless fight, He with his cruel hands Her fair throat did strongly bind. The shamefast band may not be shaken off, Though she strongly struggled Both with foot and hand, And with all the might she had She strove him to withstand and save her life. The vile villain Reviled her, and bathed in blood and sweat The sunshine of her clear countenance First did win away in luckless death. Still did he hold her Till she was still in death. Then when he discovered that his force Her life had reaved, He, like a dead man, frozen stood. Then in a twinkling, all in deadly fear, He ran unto the closed door, The key did turn, rudely thrust it open And did fly from forth the chamber. Behind his back I crouch as he passed by, And with trembling heart Softly slide after him. I fear his roving eye may on me glance, And sir, I thought How easily the villain might Thrust on me the bloody crime. The very thought turned my blood cold. Ah! Woe is me! I might have tried to call for help And save her life."
"A plague on you! Why did you not?"

By the Mind Shall I Be Seen

"This illustration is a facsimile from a Rosicrosse Emblem Book, Peacham's Minerva Britanna. It carries a secret Francis Bacon signature indicating the hidden man behind the stage curtain who wrote the immortal Shakespeare plays. He says in effect: 'Though you cannot see me, I shall be known by my mind to those who wish to find me.'
He was known to the Fraternity of the literary Rosicrosse as the Head of the Secret Orders; and Thomas Powell, a contemporary, wrote some verses identifying him as Shakespeare. He refers to Francis Bacon's Emblem in the line: 'Oh give me leave to pull the Curtayne by.'" Dodd, Alfred, The Martyrdom of Francis Bacon (London, Rider & Co.).

Two Left Arms and a Mask

"The portrait in the title page of the first folio edition of the plays published in 1623, which was drawn by Martin Droeshout is cunningly composed of two left arms and a mask. Martin Droeshout, its designer, was, as Mr. Sidney Lee tells us, but 15 years of age when Shakespeare died. He is not likely therefore ever to have seen the actor of Stratford, yet this is the 'Authentic,' that is the 'Authorized' portrait of Shakespeare, although there is no question--there can be no possible question--that in fact it is a cunningly drawn cryptographic picture, showing two left arms and a mask.
"Every tailor will admit that this [indicating the figure's right arm] is not and cannot be the front of the right arm, but is, without possibility of doubt, the back of the left arm.
"[The image] shows the front of the left arm, and you at once perceive that you are no longer looking at the back of the coat but at the front of the coat.
"[Examining the face], you see the mask. Especially note that the ear is a mask ear and stands out curiously; note also how distinct the line showing the edge of the mask appears. Perhaps the reader will perceive this more clearly if he turns the page upside down.
"The reader having seen the separate portions, will, I trust, be able now to perceve that this portrait is correctly characterized as cunningly composed of two left arms and a mask.

"While examining this portrait, the reader should study the lines that describe it in the Shakespeare folio of 1623, a facsimile of which is here inserted." Sir Edwin Durning-Lawrence, Bacon is Shakespeare (New York, The John McBride Co., 1910)

Francis Bacon's Labours

One of the books that changed my life when I read it was Alfred Dodd's, The Martyrdom of Francis Bacon. Following is a quote from that book (pp. 31-32) which nicely sums up Bacon's drive of revealing Truth and educating the masses with his philosophy.

"Under the cloak of the Secret Literary Society Francis Bacon built up his "forms," the dramatic creation of personalities; speaking his own thoughts to the world through their mouths. Now can be better understood his saying: 'Motley's the only wear: it is my only suit . . .'

'Invest me in my Motley: give me leave
To speak my Mind, and I will through and through
Cleanse the foul body of th' infected world
If they will patiently receive my medicine.'
--As You Like It

"So . . . in the 'despised weed' (disguise) of a dramatist, Shakespeare, he 'procured the good of all men.' Through his stories he tried to uplift common humanity educationally and ethically, giving his countrymen, in his open works as well as his concealed ones, a vocabulary of some twenty thousand words. He painted broad canvasses of life that taught the triumph of goodness and the dethronement of evil . . . great epics of moral power. He showed in the most practical manner, to succeeding generations of scholars, that he knew how to hold the mirror up to Nature, because he knew the secret of applied metaphysics, the interpretation of Nature according to the Novum Organum, i.e., part III. In short, he demonstrated that he fully understood the laws that govern human nature, and how to blend creative effort along definite lines in order to produce characters in art form, the various 'forms' that live in the Great Plays. Had he openly declared his views that he put into the mouths of his various characters, Francis Bacon would have been brought into conflict with Church and State. He wrote his views under the mask of a living man, as Sir Nicholas had done. This man was buried in the heart of the country . . . literally buried in Stratford Church--and had been for seven years--when Part IV of the 'Types and Models,' interpretive of Nature, were mysteriously produced in 1623 under the title of Mr. William Shakespeare's Comedies, Histories and Tragedies. This book contains the various 'forms' of mental and moral passion--of 'Light and Heat'--to illustrate his experimental natural philosophy."