Alexander Waugh outlines his theory that the title page of the
Aspley version of Shake-speare's Sonnets (1609), combined with the dedication
of same, tell us where the true author of those sonnets is buried. Filmed
at the Shakespearean Authorship Trust conference, October 29th 2017. You can watch alongside the commentary by loading the video in an adjacent separate window. Click on this link.
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SAT Conference 2017 - Alexander Waugh - A Grave Problem 2
| 00:00 | I've had to do the same thing as well | ||
| 00:01 | and take it off of the keynote software | ||
| 00:03 | and put it onto a software that is alien | ||
| 00:05 | to me and it means certain things will | ||
| 00:07 | come out as they did with Roz is wrong I | ||
| 00:09 | suspect it will put me off more than it | ||
| 00:11 | will put you off but I'll try and just | ||
| 00:13 | keep the show on the road | ||
| 00:14 | now I noticed that quite a lot of hands | ||
| 00:16 | went up at the very beginning saying | ||
| 00:18 | that you weren't here last year last | ||
| 00:21 | year I gave a talk this is essentially | ||
| 00:23 | part two of that talk called | ||
| 00:25 | Shakespeare's grave problem and in an | ||
| 00:28 | absolute nutshell because I don't spend | ||
| 00:29 | too long on this the speech I gave is | ||
| 00:32 | available is it not on the SAT website | ||
| 00:35 | so if anyone's interested they can | ||
| 00:36 | revisit it in a nutshell I basically | ||
| 00:39 | pointed out various reasons why it was | ||
| 00:40 | completely impossible that anyone let | ||
| 00:43 | alone Shakespeare or Shaq spur or anyone | ||
| 00:45 | at all was buried in the Stratford grave | ||
| 00:46 | and I also pointed out that this which I | ||
| 00:49 | think most of you will recognize as the | ||
| 00:51 | epitaph on the monument in Holy Trinity | ||
| 00:54 | Church stratford-upon-avon this contains | ||
| 00:56 | a riddle which basically says in this | ||
| 00:59 | Monument read if you can whom envious | ||
| 01:01 | death hath placed with Shakespeare in | ||
| 01:03 | other words work out by reading this | ||
| 01:05 | monument whose Shakespeare's buried with | ||
| 01:07 | and up there you have three names | ||
| 01:08 | pillion socrata m-- and Marrone m and | ||
| 01:11 | these are respective allusions to | ||
| 01:15 | Frances Bowmont Geoffrey Chaucer and | ||
| 01:18 | Spencer I won't go into all of that now | ||
| 01:20 | it's on that film please revisit it if | ||
| 01:23 | you're curious but what it's basically | ||
| 01:24 | telling you is Shakespeare is buried | ||
| 01:26 | with those three characters in that | ||
| 01:28 | order they are buried in Westminster | ||
| 01:30 | Abbey in Poets Corner so what I'm going | ||
| 01:34 | to show you today in this part two is | ||
| 01:36 | what I've discovered since giving that | ||
| 01:38 | talk and I think it's a really | ||
| 01:40 | spectacular corroboration of this not am | ||
| 01:43 | I only going to corroborate the fact | ||
| 01:45 | that he is in Poets Corner I'm going to | ||
| 01:47 | show you the exact spot within Poets | ||
| 01:49 | Corner where Shakespeare's buried and | ||
| 01:52 | it's encrypted so that means I want you | ||
| 01:54 | all to have your most skeptical hats on | ||
| 01:57 | I want you to think every single thing I | ||
| 02:00 | show you I know what you think it's | ||
| 02:01 | rubbish but I want you to think oh | ||
| 02:03 | that's just a coincidence that's just a | ||
| 02:04 | coincidence and quietly to yourselves | ||
| 02:05 | count up the amount of coincidences on | ||
| 02:08 | your fingers and then remember when you | ||
| 02:10 | get to the mathematics of it to | ||
| 02:12 | calculate | ||
| 02:13 | senses the the mathematics is | ||
| 02:15 | exponential so you'll have to have huge | ||
| 02:17 | calculators are going to the zillions | ||
| 02:18 | right now the only thing I want you to | ||
| 02:20 | look at here which I hadn't noticed last | ||
| 02:22 | time is in that little corner can you | ||
| 02:25 | see four T's T's four T's TTT si not | ||
| 02:29 | gonna tell you what they are at the | ||
| 02:30 | moment I just want you to look at them | ||
| 02:32 | for one second and think about them it's | ||
| 02:33 | going to become evident what we're | ||
| 02:36 | talking about now we're going to need a | ||
| 02:38 | tiny bit of background I'm sorry but you | ||
| 02:40 | won't understand anything if we don't | ||
| 02:42 | have background I know the Bakke onehans | ||
| 02:43 | are amongst us will be probably ahead of | ||
| 02:46 | the rest of us in terms of understanding | ||
| 02:48 | the importance of cryptology to the | ||
| 02:52 | jacobi things but also the importance of | ||
| 02:56 | a certain branch of a christian hermetic | ||
| 02:59 | philosophy someone already this evening | ||
| 03:02 | I think it was you wasn't it mentioned | ||
| 03:05 | Giordano Bruno there's someone called | ||
| 03:09 | Cornelius von nettlesome john d in | ||
| 03:13 | england it was a very very important | ||
| 03:17 | movement quite secretive movement of | ||
| 03:19 | intellectual thinkers and I'm just going | ||
| 03:22 | to give you the very very basis of their | ||
| 03:24 | philosophy because it's patently obvious | ||
| 03:26 | when I show you this encryption that | ||
| 03:28 | it's these guys who are doing it the | ||
| 03:30 | very basis of their philosophy is simple | ||
| 03:32 | it says that God is indivisible from his | ||
| 03:36 | creation in other words everything he is | ||
| 03:39 | created that's the universe and every | ||
| 03:40 | single thing in it is part of God | ||
| 03:43 | himself now to get close to God to get | ||
| 03:46 | to what we call the eternal life you | ||
| 03:48 | have to learn and by learning and | ||
| 03:50 | studying what is in this world you get | ||
| 03:53 | closer to God since everything in this | ||
| 03:55 | world is a part of God so this obsession | ||
| 03:57 | with learning which we see in a lot of | ||
| 03:59 | these people Francis Bacon of course and | ||
| 04:01 | I think William Shakespeare this | ||
| 04:03 | absolute obsession with learning is to | ||
| 04:04 | do with getting closer to God okay | ||
| 04:07 | how does this work out I'm gonna give | ||
| 04:08 | you a very very simple crash course | ||
| 04:10 | there is the letter i' i of course we | ||
| 04:14 | know means me obviously that also | ||
| 04:17 | actually stands for jesus you remember | ||
| 04:19 | there was no j generally speaking in | ||
| 04:22 | latin that's a zeus and of course adds | ||
| 04:24 | an Roman numeral it is the | ||
| 04:26 | number one this we all recognize as the | ||
| 04:29 | Roman numeral which is number ten it is | ||
| 04:32 | also in Greek it is the Chi and the Chi | ||
| 04:36 | is the first initial of Christ or | ||
| 04:39 | Christos so if we were to put those two | ||
| 04:42 | together easy-peasy | ||
| 04:44 | we have the number nine in Roman | ||
| 04:46 | numerals nine and the I and the X which | ||
| 04:49 | of course the initials of jaysus | ||
| 04:51 | Christo's Jesus Christ 9 therefore have | ||
| 04:54 | this great interesting significance is a | ||
| 04:56 | number many of you might have seen that | ||
| 04:58 | that is known as the iota Kai Christo | ||
| 05:02 | Graham it's got the initials of Jesus | ||
| 05:04 | Christ and you'll find it on many | ||
| 05:06 | ancient Christian monuments much more | ||
| 05:09 | famous is that I'm sure everybody in | ||
| 05:10 | this room has seen it I've just come | ||
| 05:12 | back from Rome where I saw it on pretty | ||
| 05:14 | well every single grave in the churches | ||
| 05:17 | of Rome it's known as the Cairo Krista | ||
| 05:20 | Graham and you can already see how it's | ||
| 05:22 | got the iota and the Chi that's yeezus | ||
| 05:25 | Christ and what looks like a pea if you | ||
| 05:27 | don't know your Greek that p is not | ||
| 05:28 | appear to row so it's an R and therefore | ||
| 05:31 | it is the first three letters of | ||
| 05:34 | Christos Christ so it's a symbol of | ||
| 05:36 | Christ and it will first appeared on the | ||
| 05:39 | scene at the Battle of Midian bridge | ||
| 05:41 | when Constantine saw it had PIFAN e up | ||
| 05:44 | in the sky and he said in hoc Signo | ||
| 05:47 | Vinces in this sign you will conquer he | ||
| 05:51 | said to his troops he saw the sign of | ||
| 05:54 | Christ and then and they were cross | ||
| 05:55 | great sign of Christianity now in this | ||
| 05:59 | sign you'll conquer in hoc Signo you see | ||
| 06:03 | how that's the initials in hoc Signo and | ||
| 06:05 | prepared to lay all the money there is | ||
| 06:07 | there isn't a single person in this room | ||
| 06:08 | who doesn't recognize I H s as a symbol | ||
| 06:11 | of Christ first three letters of yeas or | ||
| 06:14 | sin Greek iota capital eater Sigma Y a | ||
| 06:18 | Zeus and of course it stands for in hoc | ||
| 06:20 | Signo now don't panic please when things | ||
| 06:24 | when things stand for more than one | ||
| 06:27 | thing because that's exactly the point | ||
| 06:30 | the point that these people are making | ||
| 06:32 | are the God was the grand architect of | ||
| 06:35 | the universe he designed the whole | ||
| 06:37 | universe using none | ||
| 06:39 | and geometry and when one thing equals | ||
| 06:42 | Christ and it also equals something else | ||
| 06:44 | that's a cause of great celebration and | ||
| 06:46 | excitement it's proof of the whole | ||
| 06:48 | workings of God to these people not me | ||
| 06:50 | necessarily but to them so as us right | ||
| 06:53 | let's keep going okay we all recognize | ||
| 06:55 | that that's the matches are the rubbing | ||
| 06:57 | of the of the tomb in | ||
| 06:59 | stratford-upon-avon so the first thing | ||
| 07:01 | you can see there's a huge capital I and | ||
| 07:03 | yes it does also it's the eye of yeezus | ||
| 07:05 | but it's also a number one and if you | ||
| 07:07 | bother to count that it comes to 17 and | ||
| 07:09 | you open up a whole encryption there | ||
| 07:10 | which I am NOT going to go into today | ||
| 07:12 | what I want to lose look at is this TTT | ||
| 07:15 | can you see it in a vertical column | ||
| 07:17 | there now what does that mean TTT a | ||
| 07:22 | little T it's very obvious a little | ||
| 07:24 | normal lowercase T is the same as across | ||
| 07:27 | the Christian cross well some of you | ||
| 07:29 | might not know is a capital T known as a | ||
| 07:32 | tau is the Tau cross and then a long | ||
| 07:34 | time ago Jesus was supposed to have been | ||
| 07:37 | crucified on the Tau cross and you see | ||
| 07:40 | lots and lots and lots of older pictures | ||
| 07:42 | where it is a T not the Roman cross at | ||
| 07:44 | the top now we're in an age where people | ||
| 07:47 | are obsessed with numbers and the | ||
| 07:49 | relevance of numbers to other things so | ||
| 07:52 | what number is represented by T which is | ||
| 07:56 | the symbol of Jesus that crucified | ||
| 07:58 | Christ well they're kind of pretty | ||
| 08:00 | obvious isn't it | ||
| 08:01 | three it's got three points so in that | ||
| 08:04 | one symbol you've got the crucified | ||
| 08:06 | cross which is T and you've got a symbol | ||
| 08:09 | of three the three and one see how | ||
| 08:11 | exciting it is to these people I hope | ||
| 08:12 | you're getting into the excitement of | ||
| 08:14 | the Elizabethan mind oh we love the T | ||
| 08:17 | because it represents the singular | ||
| 08:19 | crucified Christ and it represents the | ||
| 08:22 | Trinity now we saw three T's in a row on | ||
| 08:25 | that thing what does that mean three | ||
| 08:27 | times three three threes are nine jaysus | ||
| 08:32 | Cristo you see how this the wonderful | ||
| 08:34 | mystery of the the the the Trinity is | ||
| 08:37 | opening up with this extraordinary | ||
| 08:39 | symbol one T one T is the crucified | ||
| 08:42 | Christ it is also the Trinity look what | ||
| 08:45 | three years III Jesus Jesus Jesus three | ||
| 08:48 | of them it's also Jesus who ever you go | ||
| 08:50 | it's Jesus excitement excitement to | ||
| 08:51 | those who | ||
| 08:52 | this sort of thing now so much | ||
| 08:55 | excitement in fact and that's the first | ||
| 08:57 | Bott botch up of the new thing that that | ||
| 08:59 | should be a very sacred symbol called | ||
| 09:01 | the triple tau or triple tau shouldn't | ||
| 09:04 | have that crack in it that's the | ||
| 09:05 | software doing that so I apologize the | ||
| 09:09 | triple tau also known as the Clovis add | ||
| 09:11 | fess sorum the key to the treasures and | ||
| 09:14 | it is a sacred symbol going right back | ||
| 09:17 | before Christianity but is also used by | ||
| 09:20 | the people we're talking about and once | ||
| 09:22 | again isn't it exciting it stands for | ||
| 09:24 | more than one thing th templum here | ||
| 09:27 | Russo Lima which is the Temple of | ||
| 09:29 | Jerusalem | ||
| 09:30 | so you see you get the T and what should | ||
| 09:33 | be an H underneath it why is that | ||
| 09:36 | exciting the Temple of Jerusalem was | ||
| 09:38 | from thousands of years to believed to | ||
| 09:40 | be the very center of the earth in the | ||
| 09:42 | Bible it was built by God it was God's | ||
| 09:44 | house Baconian ZnO perfectly well | ||
| 09:46 | amongst us in these new atlantis where | ||
| 09:49 | he talks about a secret knowledge group | ||
| 09:50 | who's whose task is to discover the | ||
| 09:53 | creation of God and they're known as | ||
| 09:55 | Salomon's house in Solomon's house the | ||
| 09:58 | templates in there but of course this is | ||
| 10:00 | why it's so exciting is not only as a | ||
| 10:02 | unified God and the ancients but yes | ||
| 10:04 | it's the crucified Christ in the center | ||
| 10:07 | with the two thieves on either side a | ||
| 10:08 | cowl great so you get that double thing | ||
| 10:11 | we've got Jesus | ||
| 10:12 | United with the Temple of Jerusalem and | ||
| 10:14 | God right her | ||
| 10:16 | that's your short that's your short | ||
| 10:18 | canter through background and I hope | ||
| 10:19 | you've just understood enough of it and | ||
| 10:21 | this is where we're going to find all | ||
| 10:24 | this extraordinary about Shakespeare's | ||
| 10:26 | burial in the sonnets only in the | ||
| 10:29 | absolute edition not the other one the | ||
| 10:31 | right edition 1609 this is a pamphlet of | ||
| 10:34 | 40 pages 40 leaves keep that little | ||
| 10:37 | thing in mind forties little themes | ||
| 10:39 | gonna come back okay that's the first | ||
| 10:42 | that's the title page and there's the | ||
| 10:44 | second page which is all of you I think | ||
| 10:46 | know it the utterly beguiling utterly | ||
| 10:49 | mystifying dedication to the sonnet mr. | ||
| 10:53 | Fang didn't seem to make much sense the | ||
| 10:55 | well-wishing and vent wisheth the | ||
| 10:57 | well-wishing adventure what the hell's | ||
| 10:59 | that about who's TT I'm not actually | ||
| 11:01 | going to go into any great length into | ||
| 11:03 | what it means as we see it there | ||
| 11:05 | we're simply going to turn it upside | ||
| 11:06 | down in something called a transposition | ||
| 11:10 | cipher which is very common in those | ||
| 11:11 | days now first thing we need a key | ||
| 11:16 | I don't know if anyone here has read an | ||
| 11:18 | extremely important seminal book called | ||
| 11:21 | the Shakespeare ciphers examined written | ||
| 11:24 | in 1957 by two people called Friedman | ||
| 11:26 | these people decrypted the Japanese | ||
| 11:29 | codes during the war have become great | ||
| 11:31 | American heroes they say that it is | ||
| 11:34 | extremely important in a cipher that you | ||
| 11:37 | have a key and the key must be applied | ||
| 11:40 | absolutely rigidly so that only one | ||
| 11:44 | possible answer only one possible | ||
| 11:47 | outcome happens you can't just you know | ||
| 11:51 | especially you're juggling around with | ||
| 11:52 | letters you have to have a key otherwise | ||
| 11:53 | everybody says only look it says this it | ||
| 11:55 | says that so what's the key actually the | ||
| 11:57 | key is staring us right in the face | ||
| 11:59 | what do we got there three triangles | ||
| 12:02 | nobody has ever properly explained why | ||
| 12:04 | that has been set as three triangles or | ||
| 12:06 | three trick it's reversed as they were | ||
| 12:07 | called in early modern English yes | ||
| 12:11 | obviously a triangle is a symbol of | ||
| 12:13 | three and not only that as we all know a | ||
| 12:16 | triangle is a symbol of Trinity because | ||
| 12:17 | it's a 1 and a 3 3 angles is not called | ||
| 12:20 | a triangle for nothing Triss in greek | ||
| 12:23 | trace in Latin 3 obviously in English | ||
| 12:26 | TTT and we all know that three threes | ||
| 12:28 | are nine yes we're back to Jesus Christ | ||
| 12:31 | again if you want to get away from | ||
| 12:32 | numbers and think more in terms of | ||
| 12:34 | letters what letters do these upside | ||
| 12:36 | down triangles represent I'd say they're | ||
| 12:38 | pretty obvious Levy's what the hell is | ||
| 12:40 | that Christ said I am the way I am the | ||
| 12:44 | truth and I am the life that he probably | ||
| 12:47 | didn't even say it in Latin he said in | ||
| 12:49 | Aramaic but it was best known in Latin | ||
| 12:51 | Eggos some via I got some Veritas it | ||
| 12:55 | goes from Vita name-o | ||
| 12:57 | Vania tat para Missy pair may nobody | ||
| 13:00 | comes to the Father except through me | ||
| 13:03 | v V V which is interpreted by Calvin a | ||
| 13:07 | lot of other people as to mean I am the | ||
| 13:10 | beginning and the middle and the end so | ||
| 13:13 | what does that mean it means when you're | ||
| 13:15 | born you have the way the | ||
| 13:16 | and through various which means truth | ||
| 13:19 | and knowledge it doesn't just mean truth | ||
| 13:22 | about who Jesus is it means the truth of | ||
| 13:24 | learning and discovery as I said because | ||
| 13:27 | you're then getting closer to God and | ||
| 13:29 | that by that you'll get the eternal life | ||
| 13:31 | so this is one of Jesus's very famous I | ||
| 13:33 | am statements I am the life I am the | ||
| 13:36 | truth I am the thing so I am I am I am | ||
| 13:39 | yes obviously that means that's Jesus | ||
| 13:40 | too and of course it goes without saying | ||
| 13:42 | if you put the visa on top of the t's | ||
| 13:44 | and you've got your upside-down | ||
| 13:45 | triangles anyway so here basically is | ||
| 13:48 | the key that is the key to the | ||
| 13:50 | encryption we're going to see what do | ||
| 13:52 | you mean that's the key TTT how can that | ||
| 13:54 | be the key the key is something that | ||
| 13:56 | validates the key is something that | ||
| 13:59 | tells you that what you've found in an | ||
| 14:01 | encryption is true or it is not true so | ||
| 14:04 | how does TTT work to validate anything | ||
| 14:07 | well just think of it I think the best | ||
| 14:09 | way to understand this is think of the | ||
| 14:11 | key as a real literal key you hold in | ||
| 14:14 | your hand and you shove it in the lock | ||
| 14:16 | and you turn it it doesn't open the door | ||
| 14:19 | don't it once you turn it twice then | ||
| 14:21 | live in the door you turn it three times | ||
| 14:23 | and there's a click and the door opens | ||
| 14:25 | this is what we're going to see tea tea | ||
| 14:28 | tea every single thing I'm about to show | ||
| 14:31 | you is not valid unless one it is | ||
| 14:35 | repeated three times tea tea tea just | ||
| 14:38 | like that or it is three times endorsed | ||
| 14:42 | by Christ tea tea tea so that's how | ||
| 14:46 | we're going to go forward and we are | ||
| 14:47 | going to obey that key rigidly and | ||
| 14:50 | you'll see that there's only one | ||
| 14:51 | solution that can come out of it now | ||
| 14:53 | okay we've got the key we also need some | ||
| 14:55 | rules which I've come to in a second | ||
| 14:56 | first of all many of you I suspect | ||
| 14:59 | particularly the Oxford Ian's among us | ||
| 15:01 | will will know that John Rowlett the | ||
| 15:03 | late John Rowlett wonderful scientist | ||
| 15:05 | clever man looked at those triangles as | ||
| 15:08 | it were that's interesting the first one | ||
| 15:09 | six lines long the second ones two lines | ||
| 15:11 | long and the third triangle is four | ||
| 15:14 | lines long six to four that made some ox | ||
| 15:18 | for diems quite excited because the | ||
| 15:21 | letters of Edward de Vere sounds like a | ||
| 15:24 | bit of a six two four and others thought | ||
| 15:26 | that's also quite interesting because | ||
| 15:30 | six of June the 24th of June 6 to 4 in | ||
| 15:33 | other words June the 24th Edward de Vere | ||
| 15:35 | died and we've seen some people saying | ||
| 15:37 | oh that's interesting this this shape | ||
| 15:39 | looks a bit like a funerary urn not sure | ||
| 15:42 | it does myself but I've heard people | ||
| 15:43 | saying in now more interesting than that | ||
| 15:46 | is what Rowlett said is look you look | ||
| 15:48 | how all these words are demarcated by | ||
| 15:50 | dots and hyphens so what happens if you | ||
| 15:53 | count the words demarcated by dots and | ||
| 15:56 | hyphens in the order 6 to 4 so let's | ||
| 16:00 | start 1 2 3 4 5 6 these 1 2 sonnets 1 2 | 16:06 | 3 4 all 1 2 3 4 5 6 by 1 getting |
| 16:12 | exciting it all by 1 2 ever | ||
| 16:18 | mmm 1 2 3 4 1 2 3 4 5 6 4 1 2 T well ox | ||
| 16:29 | forward Oxford Ian's were initially | ||
| 16:31 | excited when this was discovered as I | ||
| 16:33 | say it's about 15 years ago because | ||
| 16:35 | these sonnets all by ever sounds a bit | ||
| 16:37 | like eveer you know it did spell it like | ||
| 16:40 | that sometimes or it's an anagram of vir | ||
| 16:42 | but they weren't very happy about the | ||
| 16:44 | 4th Tooting to make no sense whatsoever | ||
| 16:46 | and so on the whole Oxford ins didn't | ||
| 16:49 | push this too far I'll just ask you now | ||
| 16:52 | to see to see if anyone's concentrating | ||
| 16:55 | is is that is that valid is that a valid | ||
| 16:58 | is that a valid anyone no no no it's not | ||
| 17:05 | valid guys you've got a positive you've | ||
| 17:08 | got to concentrate the key the key is T | ||
| 17:11 | TT ok that means anything I say it's got | ||
| 17:14 | to be repeated three times or it's got | ||
| 17:17 | to be endorsed three times by Christ and | ||
| 17:19 | that does not happen | ||
| 17:20 | I'm not saying forget it I'm just saying | ||
| 17:22 | it's not at this stage valid if I can | ||
| 17:23 | find for example of so three examples | ||
| 17:26 | where it says these sonnets are by God | ||
| 17:28 | and the fourth T the so by Edward de | ||
| 17:31 | Vere the fourth T then it will be valid | ||
| 17:33 | we haven't got there yet have done it | ||
| 17:34 | three times it's not valid gotta | ||
| 17:36 | concentrate cuz it's important otherwise | ||
| 17:37 | you can start thinking things are true | ||
| 17:39 | when they're not done anything right | ||
| 17:40 | okay so what anyway right when | ||
| 17:43 | it's not valid but I am going to | ||
| 17:45 | validate it yes yeah | ||
| 17:49 | just buried it but just keeping it yes | ||
| 17:50 | you're right there is going to be a | ||
| 17:51 | connection okay someone's concentrating | ||
| 17:54 | okay yeah all right so we've got this | ||
| 17:57 | weird sentence these sonnets by ever the | ||
| 17:59 | fourth T let's just pretend in our | ||
| 18:01 | wildest imaginations that we're not | ||
| 18:02 | validating that ever does mean Edward de | ||
| 18:04 | Vere but what the hell does it mean that | ||
| 18:06 | he's the fourth T we can understand the | ||
| 18:08 | idea that these sonnets by Edward de | ||
| 18:09 | Vere so I must like it some of us don't | ||
| 18:11 | believe we can understand it what does | ||
| 18:12 | it mean that he's the fourth T well we | ||
| 18:15 | looked at the three T's if you remember | ||
| 18:17 | and we saw them as a symbol in one | ||
| 18:19 | interpretation of the crucified Christ | ||
| 18:21 | with the two thieves on either side if | ||
| 18:24 | we take that interpretation of the the | ||
| 18:27 | three T's then the fourth T has to mean | ||
| 18:30 | the fourth cross coming anything else | ||
| 18:32 | and if you go onto the internet and look | ||
| 18:34 | up the fourth cross you'll find a | ||
| 18:36 | billion references telling exactly whose | ||
| 18:38 | cross that isn't it's the cross of st. | ||
| 18:39 | Peter if you remember the story they | ||
| 18:42 | caught up with him in Rome in 69 AD and | ||
| 18:44 | they said right mate | ||
| 18:45 | no we're going to crucify you and he | ||
| 18:47 | said well I can't be crucified because | ||
| 18:48 | I'm not worthy to be crucified in the | ||
| 18:50 | same ways Jesus but I tell you what you | ||
| 18:51 | can crucify me upside down so the fourth | ||
| 18:55 | T is actually known as the Petrin cross | ||
| 18:56 | and it's always always shown upside down | ||
| 18:59 | fourth tower still getting even more | ||
| 19:01 | muddling now why the hell is Edward de | ||
| 19:03 | Vere being described as an upside-down | ||
| 19:06 | cross well we can at this stage take | ||
| 19:08 | some sort of wild guesses if we want we | ||
| 19:10 | can say maybe because he was a sinner | ||
| 19:12 | and some Peter was the patron saint of | ||
| 19:14 | forgiven sinners this is where we get a | ||
| 19:17 | Nazi sign when we should have had a very | ||
| 19:18 | nice cross thank you software | ||
| 19:21 | actually that is that that is a cross | ||
| 19:24 | potent which should have the the triple | ||
| 19:26 | Tower the key to the treasures on the | ||
| 19:27 | top with the fourth T upside down and | ||
| 19:30 | it's also the insignia of the master of | ||
| 19:31 | the royal secret in certain promise of | ||
| 19:33 | Freemasonry could Edward de Vere's code | ||
| 19:36 | name before t very very stupid | ||
| 19:38 | suggestion Alexander why you being | ||
| 19:40 | babyish well I just throw this one in | ||
| 19:43 | your faces in the letters of of ping | ||
| 19:46 | James we have King James well he was | ||
| 19:48 | King of Scotland under the code name 30 | 19:49 | writing to someone described as 40 an |
| 19:52 | English gentleman not identified in the | ||
| 19:55 | in the letters of King James he's | ||
| 19:56 | referred to quite a few times in letters | ||
| 19:58 | also to Robert Cecil and we know that | ||
| 20:01 | he's an English courtier and he's going | ||
| 20:02 | under the code name 40 and he's close to | ||
| 20:04 | Robert Cecil so I think as we go forward | ||
| 20:06 | we're going to see that this woman | ||
| 20:07 | certainly is Edward to fear so there's | ||
| 20:09 | another possibility right now the fun | ||
| 20:11 | begins because we're gonna start the the | ||
| 20:12 | decryptions and we're going to find out | ||
| 20:14 | something very very interesting right I | ||
| 20:17 | have here laid out the dedication to the | ||
| 20:23 | sonnets in a grid 19 letters across and | ||
| 20:26 | filled it up to the only baguette or | ||
| 20:29 | these ensuing sonnets I've done nothing | ||
| 20:30 | silly and no tricks here then the little | ||
| 20:32 | M the little R there is for mr. that's | ||
| 20:34 | how it appears on the on the sonnets | ||
| 20:36 | thing right why did I lay it out in a | ||
| 20:39 | nineteen grid | ||
| 20:41 | remember the key the key is TTT we have | ||
| 20:44 | to have three reasons and those three | ||
| 20:45 | reasons have to be associated with | ||
| 20:47 | Christ so let's get those three reasons | ||
| 20:49 | out of the way T with the tau I've just | ||
| 20:52 | told you it's the symbol of Jesus | ||
| 20:53 | because it's the cross and the Tau is in | ||
| 20:56 | Greek the 19th letter of the Greek | ||
| 20:59 | alphabet therefore in what's called very | ||
| 21:01 | simple geometry ER where alpha equals 1 | 21:04 | beta equals to gamma equals 3 etc all |
| 21:07 | the way up tau equals 19 Jesus equals 19 | 21:11 | if you count the the T's on this grid |
| 21:15 | yes you guessed it there are 19 of them | ||
| 21:18 | so that's our second reason we need | ||
| 21:20 | three reasons T et et is our clue what | ||
| 21:22 | is 19 in Roman numerals x1x TTT we know | ||
| 21:31 | represents Christ Christ Christ | ||
| 21:34 | x1x is kristus jesu s cristo sliced the | ||
| 21:38 | beginning the middle and the end | ||
| 21:40 | via Veritas and Vita right so let's now | ||
| 21:44 | get into this grid and start playing the | ||
| 21:46 | game if Christ is the beginning in the | ||
| 21:48 | middle in the end let's start seeing how | ||
| 21:50 | that checks out first of all before I do | ||
| 21:52 | it that the the it was it was 12 like 12 | 21:56 | lines along the dedication and what do |
| 21:57 | we have in column 12 TTT okay you're | ||
| 22:00 | gonna say yeah showing anything get in | ||
| 22:03 | all of the different grids no you don't | ||
| 22:04 | you can put you can put this into any | ||
| 22:07 | single grid you want and you will not | ||
| 22:09 | find three T's laid out like that what | ||
| 22:12 | that is telling you is we've found the | ||
| 22:14 | Clavis ad FS Orem the key to the | ||
| 22:17 | treasures and it's on this grid now | ||
| 22:19 | we've had lots and lots of ox40 ins no | ||
| 22:22 | debate koreans we've been turning this | ||
| 22:24 | ruddy dedication upside down in hundreds | ||
| 22:27 | of different grids this is the only grid | ||
| 22:30 | you need and everything you need to find | ||
| 22:32 | is on this grid and that is telling you | ||
| 22:34 | right there you've found your home base | ||
| 22:36 | right now yeah I'm making a bit of an | ||
| 22:42 | assumption there the the dedication is | ||
| 22:45 | 12 lines long there's three triangles | ||
| 22:47 | they add up to twelve lines and in | ||
| 22:48 | column twelve we have our TTT so it's | ||
| 22:50 | sort of confirming that the whole | ||
| 22:52 | dedication was a representation of TTT | ||
| 22:54 | and it's telling you you found the right | ||
| 22:56 | grid right okay let's talk disciples | ||
| 23:00 | twelve is a very important number in all | ||
| 23:01 | this order okay now let's start getting | ||
| 23:03 | into this grid and playing with it and | ||
| 23:05 | seeing what it's telling us because it's | ||
| 23:06 | telling us a hell of a lot of | ||
| 23:06 | interesting stuff okay Christ is the | ||
| 23:09 | beginning | ||
| 23:10 | yes years T column one row one t Christ | ||
| 23:13 | is the end yes T there he is what about | ||
| 23:16 | the middle though what about this great | ||
| 23:17 | capital I what about the veritas well | ||
| 23:19 | let's just draw a huge capital I right | ||
| 23:22 | into the center of our grid and again | ||
| 23:24 | I'm very sorry it was slick when I did | ||
| 23:25 | it's very slow now there it is there is | ||
| 23:28 | a capital I for ya Zeus right in the | ||
| 23:31 | center and anyone who knows about | ||
| 23:32 | Renaissance numerology will know the | ||
| 23:34 | center is the most important place to a | ||
| 23:37 | Renaissance mind it's centered east/west | ||
| 23:40 | it centered north-south there's your | ||
| 23:41 | capital I now is it a valid symbol not | ||
| 23:45 | let let's validate it you remember I | ||
| 23:47 | said TT | ||
| 23:48 | here's the key that's guidance just keep | ||
| 23:50 | reminding you of this so you'll really | ||
| 23:51 | with me all the way on this because | ||
| 23:52 | always you can lose me I can lose you if | ||
| 23:54 | someone's gonna lose somebody TTT I said | ||
| 23:57 | either you repeat three times or it is | ||
| 23:59 | endorsed three times by Christ okay | ||
| 24:02 | capital I that's Christ that's one look | ||
| 24:05 | at the three T's they're the middle T | ||
| 24:07 | that's the crucified Christ and it's | ||
| 24:09 | touching on the capital I and what | ||
| 24:10 | column are we in we're in column ten | ||
| 24:14 | which is Christo so yes we've got our | ||
| 24:15 | three endorsements now we know that this | ||
| 24:17 | is a valid symbol so now we know it's | ||
| 24:19 | valid let's read what it says inside it | ||
| 24:21 | at the bottom we have the Latin vert | ||
| 24:24 | stem then please don't panic about Latin | ||
| 24:27 | verb stems you get them all over | ||
| 24:29 | monuments Abdel very very common to have | ||
| 24:32 | the verb stem and not the whole thing | ||
| 24:34 | verb some of they're near a to come and | ||
| 24:36 | then in the Tao cross up here I'm afraid | ||
| 24:39 | we're back to anagrams only got too much | ||
| 24:41 | headaches from the last talk but that's | ||
| 24:43 | a perfect anagram they're no messing | ||
| 24:44 | around perfect anagram of get it very | ||
| 24:48 | task yes well done you've got it so | ||
| 24:50 | we've got the message in a zone because | ||
| 24:52 | it's inside the capital I in Haysom | ||
| 24:55 | Veritas vein it in Jesus the truth comes | ||
| 24:58 | or the truth is coming through Jesus you | ||
| 25:00 | find the truth what is the point of | ||
| 25:03 | putting that right in the center of this | ||
| 25:06 | grid why is it so important to say that | ||
| 25:08 | I'll tell you why because this is the | ||
| 25:09 | rules we've had the key | ||
| 25:12 | that's for validation TTT and now we've | ||
| 25:14 | got the rules of the game and the rule | ||
| 25:16 | of the game is look for Jesus and you'll | ||
| 25:18 | find the truth so that's what we're | ||
| 25:20 | gonna do we're gonna look for Jesus and | ||
| 25:21 | we're gonna find some very extrordinary | ||
| 25:23 | truth actually I'm going to take you in | ||
| 25:25 | first through a back door exactly the | ||
| 25:28 | same grid haven't changed anything I've | ||
| 25:29 | just taken the in very tapped off a vein | ||
| 25:32 | it I've taken that guy away so I and all | ||
| 25:34 | I've done is the TTT still there and | ||
| 25:36 | I've highlighted there the word fourth | ||
| 25:38 | in red do you remember we had that funny | ||
| 25:41 | message right at the beginning which | ||
| 25:42 | said these sonnets all by ever the | ||
| 25:45 | fourth T you remember that and we | ||
| 25:48 | remember what the fourth T is the | ||
| 25:50 | upside-down cross of Peter it's an | ||
| 25:52 | upside-down T so what happens if we draw | ||
| 25:55 | a rebus an upside-down T right on top of | ||
| 25:57 | the word fourth as your three T's | ||
| 25:59 | there's the fourth that is a rapist the | ||
| 26:01 | word is | ||
| 26:01 | tea a rapist by the way is a word that | ||
| 26:04 | is not written with letters it's written | ||
| 26:06 | with shapes known as counting in in in | ||
| 26:09 | heraldry so there's your tea its fourth | ||
| 26:11 | tea | ||
| 26:11 | what does it say inside it de vere | ||
| 26:14 | interesting so we've already had these | ||
| 26:16 | sonnets or by ever the fourth tea now | ||
| 26:19 | we've got the fourth tea again and it | ||
| 26:21 | says de Vere | ||
| 26:22 | so is it now value whatever it means | ||
| 26:24 | that vir is the fourth to you have we | ||
| 26:26 | validated it according to the key no | ||
| 26:30 | well done good we've only had it twice | ||
| 26:31 | don't worry we'll have it three times I | ||
| 26:33 | hope you'll understand it by the end but | ||
| 26:35 | twice we now know that at least we've | ||
| 26:36 | been given twice these the fourth tea | ||
| 26:38 | now do you remember the rules of this | ||
| 26:40 | funny little game look what that didn't | ||
| 26:42 | set very well because of the new | ||
| 26:43 | software look what's just above this | ||
| 26:45 | fourth tea just there we've got is H is | ||
| 26:48 | H remember in signal hoc vinci's in this | ||
| 26:55 | sign you will conquer that's the sign | ||
| 26:58 | please keep staring at it is known as | ||
| 26:59 | the Cairo symbol it's going to be very | ||
| 27:01 | important this is the sign that he saw | ||
| 27:03 | up in the sky in this sign you will | ||
| 27:06 | conquer and what have we got there you | ||
| 27:08 | got your verb stem for the VIN chairs | ||
| 27:10 | and there's your in signal hawk right | ||
| 27:12 | there so in signal hawk finches it's a | ||
| 27:14 | sign of Jesus and it's hovering just | ||
| 27:17 | above the de vere sign so we've got | ||
| 27:20 | Jesus there what column are we in column | ||
| 27:24 | 9 exactly yes as Christo's so we've got | ||
| 27:27 | two Jesus's one two and if you work to | ||
| 27:29 | invalidate anything more we need a third | ||
| 27:31 | Jesus so what do we do draw it on may we | ||
| 27:34 | have a capital I for yeezus this is the | ||
| 27:37 | second capital I we've had everything | ||
| 27:39 | just to make you die of boredom in | ||
| 27:41 | advance everything is going to come in | ||
| 27:43 | threes TTT that's the key to everything | ||
| 27:45 | is in threes okay so we've got a valid | ||
| 27:47 | symbol here what's your telling us is it | ||
| 27:49 | telling us anything interesting lies | ||
| 27:51 | here wasn't it d'oeuvre there lies here | ||
| 27:55 | tough like it's gonna tell us that he's | ||
| 27:57 | buried somewhere now but I can see I can | ||
| 28:01 | see that some of you saying I are hang | ||
| 28:02 | on I'm having a re twice for here look | ||
| 28:05 | in the bottom stem what have we got II D | ||
| 28:08 | V the initials Edward de Vere lies here | ||
| 28:12 | we're using everything once and | ||
| 28:14 | once only we don't need to duplicate | ||
| 28:16 | those er ease | ||
| 28:19 | absolutely it is and and I will I if I | ||
| 28:22 | would I would I would I would come to | ||
| 28:24 | that because it were I won't give away a | ||
| 28:26 | secret but you're right there is a | ||
| 28:29 | absolutely I'm telling you there's a | ||
| 28:31 | fantastic pun in there and I'm not going | ||
| 28:34 | to show it to you today and if anyone | ||
| 28:36 | buys the devious newsletter for October | ||
| 28:38 | you'll find exactly that you're onto | ||
| 28:40 | something there there is upon there | ||
| 28:41 | right now so okay at the moment we're | ||
| 28:44 | taking it that it means he lies here | ||
| 28:46 | he's buried here okay so I would take it | ||
| 28:48 | at the moment and your absolute that you | ||
| 28:50 | could go a different way and you'll find | ||
| 28:51 | something jolly interesting if you do | ||
| 28:52 | right | ||
| 28:53 | okay lies here we've come down to the | ||
| 28:55 | second e of here and now what do we do | ||
| 28:58 | we're stuck can anyone remember the | ||
| 29:01 | rules not the key the key is TTT that's | ||
| 29:04 | for validation what's the rule we're | ||
| 29:06 | playing yes someone said it in the yeas | ||
| 29:10 | on Veritas vein it we look for Jesus | ||
| 29:12 | now where's Jesus anywhere near this | ||
| 29:15 | bottom e here whoa what do we got there | ||
| 29:18 | second time we've already seen this | ||
| 29:19 | Elias hmm we had is H there in signal | ||
| 29:22 | hoc now there it is a second time right | ||
| 29:24 | next to that second even I mean to jump | ||
| 29:26 | anywhere or do anything okay in signal | ||
| 29:29 | hoc that's Jesus and they should be | ||
| 29:31 | there for a signal a sign somewhere just | ||
| 29:34 | above that and I'll cut to the quick | ||
| 29:36 | there it is it's an upside-down cross | ||
| 29:39 | what's an upside-down cross folks god | ||
| 29:43 | you're yes someone's concentrating it's | ||
| 29:44 | a some Peter's cross and again we're now | ||
| 29:47 | involved in a rebus here do you mean | ||
| 29:49 | what I said a rapist is a rapist is a | ||
| 29:50 | word that is written by a picture not by | ||
| 29:54 | letters so we've got Peters cross as the | ||
| 29:57 | work we've got there okay let's look in | ||
| 29:58 | the bottom of it we have South s oh you | ||
| 30:01 | the Y is a thorn th South and what have | ||
| 30:05 | we got in the top of it | ||
| 30:06 | Isle that's how they used to sperry | ||
| 30:09 | often spell it in in Renaissance England | ||
| 30:13 | so we got South Isle st. Peter's cross | ||
| 30:15 | we put the two together what we got | ||
| 30:17 | South cross Isles and Peters what what | ||
| 30:19 | the hell does that mean | ||
| 30:21 | I I thought he I thought it was in Poets | ||
| 30:25 | Corner in Westminster Abbey with with | ||
| 30:27 | Chaucer and stuff we being ripped off | ||
| 30:30 | okay here's Antonia wood in 16 something | ||
| 30:33 | rather talking about the the burial of | ||
| 30:35 | Chaucer and the man called brigham who | ||
| 30:37 | had so much respect for his memory at | ||
| 30:40 | such great that he moved his bones into | ||
| 30:42 | the South cross aisle or transept of | ||
| 30:45 | some Peter's Church Westminster if you | ||
| 30:49 | go on the Westminster Abbey website | ||
| 30:52 | you'll see this is not properly called | ||
| 30:55 | Westminster Abbey it's called some | ||
| 30:56 | Peter's Church the proper name for | ||
| 30:57 | Westminster Abbey and of course Poets | ||
| 31:00 | Corner wasn't called Poets Corner until | ||
| 31:01 | the 19th century it was called the South | ||
| 31:03 | cross aisle or the south transept and | ||
| 31:05 | there you can see they've spelled it | ||
| 31:06 | with an S in the middle so we are | ||
| 31:08 | looking as if we're getting quite close | ||
| 31:10 | because we've got Edward to realised | ||
| 31:11 | here's south cross I'll sum Peters is | ||
| 31:15 | that valid no no it's not well done very | ||
| 31:20 | good it's not valid we've got to either | ||
| 31:22 | repeat it three times or we got to have | ||
| 31:24 | Jesus endorsing it three times let's try | ||
| 31:26 | and get Jesus to endorse it three times | ||
| 31:27 | i Sh Jesus once so we've got that now | ||
| 31:31 | god it's so clever and beautiful how | ||
| 31:33 | he's done it this time and you remember | ||
| 31:35 | everything comes in threes and we've had | ||
| 31:37 | three eyes we heard the in yeas and | ||
| 31:39 | Veritas feign it we've heard Edward de | ||
| 31:41 | Vere lies here the big R you can see | ||
| 31:42 | there what happens if we draw another | ||
| 31:44 | Jesus smack on top of a south cross I'll | ||
| 31:46 | they're right on top point what do we | ||
| 31:50 | get on the bottom of the stem we have | ||
| 31:51 | the I H which is iota eita some of you | ||
| 31:56 | will have seen that symbol known as the | ||
| 31:57 | iota iota Ito Krista Graham it's Jesus | ||
| 32:00 | and what do we have here in the Tau | ||
| 32:02 | cross just above it perfect anagram of | ||
| 32:05 | yes God that was clever who do that | ||
| 32:07 | absolutely right so you've got the | ||
| 32:09 | message Christe Eleison Christ have | ||
| 32:11 | mercy this is a benediction that you say | ||
| 32:14 | on top of a coffin on top of a place | ||
| 32:16 | where somebody is buried Christ have | ||
| 32:19 | mercy | ||
| 32:20 | why would you have Christ have mercy on | ||
| 32:22 | poor old Edward de Vere well we all know | ||
| 32:24 | he's a bit of a sinner but never mind | ||
| 32:26 | okay so we've got two Jesus's to endorse | ||
| 32:28 | this so we need a third one column 7 was | ||
| 32:30 | what score 7 got to do | ||
| 32:32 | remotely with Jesus and Jesus's | ||
| 32:34 | forgiveness anyone know not all great | ||
| 32:37 | yes some of your good Bible readers then | ||
| 32:39 | Peter came to him and said Lord how oft | ||
| 32:41 | shall my brother sin against me and I | ||
| 32:45 | forgive him seven times and in Luke 17 | 32:48 | for Jesus responds if he trespass |
| 32:50 | against these seven times in a day and | ||
| 32:52 | seven times in a day turn again to thee | ||
| 32:54 | saying I repent thou shalt forgive him | ||
| 32:57 | so 7 is the number of Jesus's | ||
| 33:00 | forgiveness and that's why we have the | ||
| 33:02 | Christe Eleison smack on top of the | ||
| 33:06 | South cross Isles and Peter's where | ||
| 33:09 | we're told that he has been buried now | ||
| 33:11 | everything has to come in threes as we | ||
| 33:14 | know and we also know that all we found | ||
| 33:17 | so far as he's buried in a south | ||
| 33:20 | transept of a church called some Peters | ||
| 33:24 | well this isn't Peters in Cornhill | ||
| 33:25 | Exeter Cathedral is called some Peters | ||
| 33:28 | we've got to get the right we must find | ||
| 33:30 | the right Church how are we going to | ||
| 33:32 | find it who can remember the rule what | ||
| 33:34 | we do when we're stuck the rule is in | ||
| 33:37 | yeas are very tasks vain it so let's | ||
| 33:39 | look for Jesus again Oh blow me over | ||
| 33:41 | with a feather is H the third time we've | ||
| 33:44 | had it isn't that strange er yes you are | ||
| 33:47 | we had it there yes you are in this sign | ||
| 33:49 | it's up then remember it's a reminder of | ||
| 33:51 | the sign Jesus but this is a | ||
| 33:53 | particularly interesting one is H I now | ||
| 33:57 | that's interesting because that means in | ||
| 33:59 | signal hawk Yeshua and backwards in hoc | ||
| 34:03 | Signo both a perfectly good Latin and | ||
| 34:05 | the other one means Jesus got to Jesus's | ||
| 34:08 | there backwards why would we put it | ||
| 34:10 | backwards we're told there's a sign up | ||
| 34:12 | here I noticed when I was finding this I | ||
| 34:15 | mean is that at it could be irrelevant | ||
| 34:18 | but everything seems to be linked as a | ||
| 34:19 | jumping here when I got to this point I | ||
| 34:22 | knew with absolute certainty that I | ||
| 34:27 | would find a symbol up here and I knew | ||
| 34:29 | because of my work on the Stratford | ||
| 34:31 | monument that I find a symbol that | ||
| 34:33 | helped me to locate Westminster Abbey it | ||
| 34:35 | wasn't going to be any other Church and | ||
| 34:38 | I saw a W and various things but you can | ||
| 34:40 | imagine my total astonishment when I saw | ||
| 34:42 | the actual sign | ||
| 34:44 | there it is you have the knave the to | ||
| 34:46 | cross Isles the transepts and the | ||
| 34:48 | cloisters of Westminster Abbey in a | ||
| 34:51 | reversed image now I'm just going to | ||
| 34:53 | bring up the floorplan of Westminster | ||
| 34:55 | Abbey underneath it so you understand | ||
| 34:56 | exactly how spectacular that is there's | ||
| 34:59 | the cloisters built into the south | ||
| 35:00 | transept and the nave and the thing so | ||
| 35:03 | we go back before we read what's inside | ||
| 35:06 | it let's for heaven's sake do our duty | ||
| 35:09 | by the key the key is TTT we need to | ||
| 35:13 | have Jesus three times endorsing this | ||
| 35:15 | symbol otherwise it's not good enough is | ||
| 35:17 | H Yeshua | ||
| 35:18 | IHS yeas us and we are in column 3 which | ||
| 35:23 | is aye-aye-aye | ||
| 35:25 | heizo sceeto's yeas us an exact mirror | ||
| 35:28 | of T TT which is our key so that is a | ||
| 35:32 | validated symbol and it is as you've | ||
| 35:34 | just seen rather miraculously a reverse | ||
| 35:36 | picture of Westminster Abbey so now | ||
| 35:38 | what's written in it thee that's fairly | ||
| 35:41 | easy don't need an anagram for that I'm | ||
| 35:43 | very sad sakes I know your heads are | ||
| 35:45 | getting tired with Anna ground so if you | ||
| 35:46 | take the V out you have a perfect | ||
| 35:48 | anagram of yes of course | ||
| 35:52 | the Westminster it was used to be known | ||
| 35:55 | as thorny that area then it became known | ||
| 35:58 | as the Westminster now on the very very | ||
| 36:00 | off chance that there were two churches | ||
| 36:03 | in that area called V Westminster called | ||
| 36:06 | some Peters well we put paid to than me | ||
| 36:08 | anyone other than Westminster Abbey by | ||
| 36:10 | the shape of it now why was it reversed | ||
| 36:13 | like that why do they flip it well I | ||
| 36:16 | think I can give you a couple of reasons | ||
| 36:17 | I think we can now read the whole thing | ||
| 36:20 | from left to right to the Westminster at | ||
| 36:23 | South Cross Isles and Peter's Edward de | ||
| 36:26 | Vere lies here so now we're reading it | ||
| 36:28 | properly now I just want you to think | ||
| 36:33 | how absolutely brilliant this is I know | ||
| 36:37 | you might thinking it's a little bit | ||
| 36:39 | boring but it's absolutely brilliant our | ||
| 36:41 | key is TTT what have what have I shown | ||
| 36:43 | you so far I've shown you three | ||
| 36:45 | capitalise aye aye aye yes yes yes that | ||
| 36:50 | is a mirror of TTT the three capital | ||
| 36:52 | lies were in yeas and Veritas vain it | ||
| 36:54 | that's gone now | ||
| 36:56 | Edward de Vere lives here that's the | ||
| 36:57 | second eye and the one sitting on top of | ||
| 37:00 | that Christe Eleison nice you've got | ||
| 37:02 | three eyes I've shown you three is HS is | ||
| 37:06 | H is H is H each time those were | ||
| 37:10 | signalling a sign in hoc Signo it's | ||
| 37:14 | actually telling you what it's doing | ||
| 37:15 | three times is H represents Jesus | ||
| 37:18 | aye-aye-aye we've mirrored the TTT which | ||
| 37:21 | is our key again and I shown you three | ||
| 37:25 | pictograms I showed you the upside down | ||
| 37:28 | T which is an upside-down cross I showed | ||
| 37:31 | you the Peters cross here and I've shown | ||
| 37:33 | you the Westminster Abbey which is in | ||
| 37:34 | the form of a cross all three signs of | ||
| 37:36 | Jesus | ||
| 37:37 | III TTT you've had three times three | ||
| 37:41 | absolutely built like a tungsten | ||
| 37:43 | fortress this thing so good luck you lot | ||
| 37:45 | who want to put it that it's annoying | ||
| 38:01 | it's annoying that but at the same time | ||
| 38:04 | I'm just worried that if I don't keep | ||
| 38:05 | repeating people will forget and they'll | ||
| 38:07 | get dizzy about what's happened okay now | ||
| 38:11 | I would say that this is almost perfect | ||
| 38:14 | but it's not perfect that's what's so | ||
| 38:17 | interesting about it and we all know why | ||
| 38:18 | it's not perfect and I sometimes wonder | ||
| 38:20 | whether than the non perfection of it is | ||
| 38:22 | what got us all onto this in the first | ||
| 38:24 | place so let's just very quickly look at | ||
| 38:26 | those non perfect aspects not just in a | ||
| 38:30 | minute we're going to look at those non | ||
| 38:31 | perfect aspects which made us realize | ||
| 38:33 | right from the start that this bloody | ||
| 38:35 | thing was encrypted so it uses a swear | ||
| 38:36 | word only to these only baguette oh | ||
| 38:41 | there should be an e in there why isn't | ||
| 38:42 | there an e well it's pretty obvious you | ||
| 38:44 | your lie would be shifted out of that | ||
| 38:46 | place and you'd be in trouble of these | ||
| 38:49 | ensuing sonnets one would expect the | ||
| 38:51 | word n suing sonnets you in suing me but | ||
| 38:54 | if you even had an E you wouldn't have | ||
| 38:55 | your isle which is so important to the | ||
| 38:56 | south across Silas Peters mr. WH well I | ||
| 39:00 | wouldn't be surprised if the vast | ||
| 39:01 | majority of people in this room think | ||
| 39:03 | that WH is Henry roffels e his his his | ||
| 39:06 | initials reversed obviously if you put | ||
| 39:09 | them the right | ||
| 39:10 | way around you would have the hessed | ||
| 39:11 | minster and you'd lose your Westminster | ||
| 39:13 | which been up to disaster I think the | ||
| 39:15 | idea of the the whole switch and the | ||
| 39:17 | reversing is also giving you a clue that | ||
| 39:18 | HW should be reversed and finally which | ||
| 39:22 | I mentioned before this wishing the well | ||
| 39:24 | wish if it's wish wish wish it's silly | ||
| 39:26 | he's trying to get all those is h's in | ||
| 39:28 | because he wants he's in hoc signals to | ||
| 39:29 | be underneath these signs okay I'm going | ||
| 39:32 | to move on now before I move on I'm just | ||
| 39:34 | going to tantalize you a tiny bit I've | ||
| 39:37 | only shown you one encryption and I'm | ||
| 39:39 | going to show you one more and yes | ||
| 39:41 | obviously TTT there are three of them | ||
| 39:43 | there are three encryptions I'm not | ||
| 39:45 | going to show you the third but I'm | ||
| 39:46 | going to tell you and the reason I'm not | ||
| 39:48 | going to show it to you is not concerned | ||
| 39:49 | with where Edward de Vere is buried | ||
| 39:51 | where Shakespeare's buried what it's | ||
| 39:52 | concerned with is three characters and | ||
| 39:56 | it works exactly the same way as this | ||
| 39:57 | and it's sitting just there in that | ||
| 39:58 | empty space there works exactly the same | ||
| 40:00 | it's three symbols it tells you about | ||
| 40:02 | three people and it tells you the only | ||
| 40:05 | but getter is and it's absolutely | ||
| 40:06 | fascinating and if you want to know how | ||
| 40:08 | that encryption worked please buy the de | ||
| 40:10 | Vere society newspaper of October just | ||
| 40:13 | about to come out because I give it in | ||
| 40:15 | there but we're not going to do it today | ||
| 40:16 | right so what we are going to do is go | ||
| 40:18 | to the second and final encryption I'm | ||
| 40:20 | going to show you today some of you will | ||
| 40:24 | be aware I have no doubt of video that | ||
| 40:28 | Alan green put earlier this year online | ||
| 40:32 | and he discovered that this title page | ||
| 40:35 | has a sort of secret geometry hidden | ||
| 40:38 | behind it he noticed that if you draw a | ||
| 40:41 | line from the great big G dot there up | ||
| 40:44 | to the indented dot and then you take | ||
| 40:47 | lines from either end and join up with | ||
| 40:50 | various key points you find a | ||
| 40:52 | fascinating array of right-angled | ||
| 40:54 | triangles so for instance I join the the | ||
| 40:56 | two ends to the end of that line there's | ||
| 40:59 | a right-angled triangle if I take the | ||
| 41:01 | second parallel line oh yes there's | ||
| 41:03 | another right-angled triangle if we go | ||
| 41:06 | to the little sorry the a split dot down | ||
| 41:10 | here as Polly yes you've guessed it | ||
| 41:13 | another right-angled triangle would | ||
| 41:14 | particularly interesting that one is a | ||
| 41:15 | perfect Pythagorean right-angled | ||
| 41:17 | triangle and if you go to the dot after | ||
| 41:20 | 16:09 | 41:22 | bingo same thing again I don't know how |
| 41:25 | many of us in here | ||
| 41:26 | remember our own level mathematics but | ||
| 41:28 | probably all of us sins is quite simple | ||
| 41:30 | going on then it's it's known as they | ||
| 41:32 | Lee's theorem when you get all these | ||
| 41:34 | right-angled triangles coming off a | ||
| 41:35 | single the ends of the same line then we | ||
| 41:38 | know that it is hiding a perfect circle | ||
| 41:41 | and we have the six dots all on the | ||
| 41:44 | circumference of that perfect circle so | ||
| 41:47 | the question is that's extremely | ||
| 41:49 | interesting but what what sit there for | ||
| 41:51 | what an earth is that therefore now | ||
| 41:54 | we've just seen this absolutely | ||
| 41:56 | astonishing encryption which is telling | ||
| 41:59 | you that Shakespeare is buried in Poets | ||
| 42:01 | Corner in Westminster Abbey is it likely | ||
| 42:04 | that you go to all that effort and make | ||
| 42:06 | that incredible encryption and just say | ||
| 42:08 | okay I'm off to go how cavity now or | ||
| 42:10 | would you actually say where he's buried | ||
| 42:12 | show us the spot where he's buried in | ||
| 42:14 | Westminster Abbey it seems to me it's | ||
| 42:16 | obvious that that should be lurking | ||
| 42:17 | there somewhere and so then it occurred | ||
| 42:20 | to me when I saw that this had this | ||
| 42:22 | hidden geometry that the answer was | ||
| 42:25 | going to be somewhere on this page right | ||
| 42:28 | sorry I hate to keep refreshing your | ||
| 42:30 | memory and I know it's getting late in | ||
| 42:32 | the afternoon but I'm just gonna ask you | ||
| 42:33 | the question one more time when we get | ||
| 42:35 | stuck in this encryption what are the | ||
| 42:36 | rules what do what do we do what do we | ||
| 42:38 | what Jesus Jesus God you're really all | ||
| 42:41 | concentrating course in YES on Veritas | ||
| 42:44 | Bane it's we look for Jesus if we can | ||
| 42:47 | find Jesus we should find the truth how | ||
| 42:49 | the hell are we going to find Jesus | ||
| 42:50 | right let's get Alan green circle up | ||
| 42:52 | there and there we've got the diameter | ||
| 42:54 | line from the G to the indented dot now | ||
| 42:57 | if you take a line from that G dot and | ||
| 42:59 | go horizontally across till it hits the | ||
| 43:01 | circumference like that you pass back up | ||
| 43:04 | through the center of the circle and | ||
| 43:05 | down through the P there oh yes of | ||
| 43:08 | course it's our old friend it's our old | ||
| 43:12 | friend Jesus it's the Cairo so move | ||
| 43:14 | absolute on assuring I discovered you go | ||
| 43:16 | directly down through the stem of that | ||
| 43:18 | pea and it goes right into the centre of | ||
| 43:20 | that hidden circle and it lands plot on | ||
| 43:22 | that dot right there okay so now we know | ||
| 43:26 | that in Jesus we're going to find the | ||
| 43:28 | truth | ||
| 43:28 | so how now we found Jesus are we going | ||
| 43:30 | to find the truth well actually it's | ||
| 43:31 | pretty obvious isn't it there's only one | ||
| 43:33 | way we can possibly find the truth from | ||
| 43:34 | that as we look where | ||
| 43:35 | pointing clearly right so let's start | ||
| 43:38 | let's start with the big guy in the | ||
| 43:39 | middle for Christo's for Christ if we | ||
| 43:41 | take the top top right there it's | ||
| 43:43 | pointing at the dot captioned by de | ||
| 43:46 | top-left ve bottom right ar e and bottom | ||
| 43:52 | left by G what held us by G mean by G | ||
| 43:56 | many of you'll be familiar with that | ||
| 43:57 | sign that's the main sign of the | ||
| 43:59 | Freemasons is the huge G of God gay | ||
| 44:03 | ometer that is to say the grand | ||
| 44:06 | architect of the universe which you see | ||
| 44:08 | in lots of medieval paintings and there | ||
| 44:10 | he is designing the whole universe so | ||
| 44:12 | this is really telling you | ||
| 44:15 | shakespeare's sonnets are by God and de | ||
| 44:18 | Vere sounds a pretty odd thing to be | ||
| 44:20 | telling you I have to agree but it isn't | ||
| 44:23 | it's it's a message from some Paul | ||
| 44:25 | really what is really saying is these | ||
| 44:27 | sonnets are by Devere and by the grace | ||
| 44:29 | of God within him is it a valid message | ||
| 44:32 | No hooray for all those people who don't | ||
| 44:35 | want to be Oxford Ian's it's not valid | ||
| 44:37 | it's not valid because we've only had it | ||
| 44:40 | once but I'm afraid we're gonna get it | ||
| 44:42 | three times so brace yourselves okay | ||
| 44:46 | right so okay so we've seen where those | ||
| 44:48 | four bits are pointing now what about | ||
| 44:50 | this great iota of Jesus is pointing | ||
| 44:52 | right there that dot what is that dot | ||
| 44:54 | what's that telling us it seems to be a | ||
| 44:56 | dot that's captioned by a big T it's the | ||
| 44:59 | first T of Thomas thorpes initials okay | ||
| 45:02 | that's do you remember thee sonnets all | ||
| 45:05 | by ever the fourth t let's just see if | ||
| 45:09 | this could be possibly the fourth T on | ||
| 45:11 | this page there's the first T sonnets | ||
| 45:13 | interesting there's the second one comes | ||
| 45:15 | in in print Ted third one at Oh bingo | ||
| 45:19 | bango bango yes it is the fourth T the | ||
| 45:22 | iota of Jesus is pointing at the fourth | ||
| 45:25 | T let's have a look at this really | ||
| 45:28 | interesting thing there it is there's | ||
| 45:31 | there is the fourth T now notice what | ||
| 45:34 | comes just in front of it for T quite | ||
| 45:37 | interesting cuz you man we have this for | ||
| 45:39 | T's that we saw on the stratford mario | ||
| 45:42 | 14 remember it's 14 leaves this thing | ||
| 45:45 | and suddenly got 40 the | ||
| 45:47 | there's a codename for Edward de Vere | ||
| 45:48 | don't know anyway even if it is we have | ||
| 45:50 | to have three reasons so it's not going | ||
| 45:51 | to count it so let's look the letter | ||
| 45:53 | before that we've seen the 40 letter | ||
| 45:55 | before that oh it's a DS not gonna help | ||
| 45:58 | us D 40 what do you think that means d | ||
| 46:01 | 40 let's go to understand this | ||
| 46:04 | encryption we need to go to the ancient | ||
| 46:06 | symbolism of the T | ||
| 46:08 | there's the Greek Egyptian hieroglyph | ||
| 46:11 | the Tao and you can see what it is it's | ||
| 46:12 | an ox with horns I'm sure many of you | ||
| 46:16 | know that it's actually equally ancient | ||
| 46:17 | as old as the Tau it is the SI | ||
| 46:20 | constellation silent constellation of | ||
| 46:22 | Taurus exactly so it's the sign of of | ||
| 46:26 | the ox and of course the oldest form of | ||
| 46:29 | the Greek cow looks very come derives | ||
| 46:32 | from that and then the Greek tau later | ||
| 46:35 | developed into that it's a symbol of an | ||
| 46:36 | octa-core some of the work tau comes | ||
| 46:38 | with Tyros in Greek and Taurus in Latin | ||
| 46:41 | and there's the Latin T so whichever way | ||
| 46:43 | you try and cut this a T is a symbol of | ||
| 46:46 | an ox right so d40 what does that mean | ||
| 46:49 | two bananas for a pound I give you two | ||
| 46:51 | bananas you give me a pound we swap | ||
| 46:52 | around yippee I know let's do that but | ||
| 46:54 | first remember the symbol of an ox now | ||
| 46:56 | let's sign around oh yeah we've got it | ||
| 46:58 | okay we've got it so so that is now that | ||
| 47:05 | is now whether we like it or not that is | ||
| 47:07 | now validated because we've had three | ||
| 47:09 | times we've been - given the fact that | ||
| 47:11 | that fourth T the 4t Oxford so this is | ||
| 47:15 | now getting extremely exciting because | ||
| 47:16 | we've got a dot here and look what word | ||
| 47:19 | it's sorry you may if you're lucky now | ||
| 47:24 | look can't come - you mean okay that's | ||
| 47:28 | boring I'm just showing you that we've | ||
| 47:30 | now had three iterations that a vir | ||
| 47:33 | being the fourth T there was the first | ||
| 47:34 | one we saw it on there there was the | ||
| 47:35 | Oxford one and there was the fourth T | ||
| 47:37 | when the upside-down T so we've got that | ||
| 47:38 | point humbly okay let's look up there | ||
| 47:40 | look we've got the word London right | ||
| 47:42 | above this well that's interesting | ||
| 47:43 | we're looking for where Shakespeare's | ||
| 47:45 | buried now aren't we | ||
| 47:46 | and it's right underneath the word | ||
| 47:47 | London and the eye is pointing at that | ||
| 47:50 | dot and we know that's Oxford now so | ||
| 47:54 | however hell are we going to find out | ||
| 47:56 | where he's buried by using this | ||
| 47:58 | information yes that's on its title page | ||
| 48:00 | got the Allen green circling and the | ||
| 48:02 | capital I that's now pointing at this | ||
| 48:04 | stop which I think may be where our | ||
| 48:06 | friend is buried so what are we going to | ||
| 48:08 | do let's get a map of the south cross | ||
| 48:10 | pile out there it is we're known as | ||
| 48:13 | Poets Corner now the first thing you're | ||
| 48:15 | probably noticed at a glance from | ||
| 48:16 | wherever you're sitting is that this | ||
| 48:20 | line here is not actually centered to | ||
| 48:22 | the page slightly set off to the right | ||
| 48:25 | can you see that it's not centered if | ||
| 48:27 | you look here you see a row of pillars | ||
| 48:29 | and you see there's not actually | ||
| 48:30 | centered two Poets Corner it's slightly | ||
| 48:33 | off there to the right so it wouldn't | ||
| 48:36 | might imply that this line here is | ||
| 48:38 | deliberately representing this line of | ||
| 48:41 | columns through the center of the south | ||
| 48:43 | cross although we now know he is buried | ||
| 48:45 | in matter of fact what's particular | ||
| 48:47 | interesting if you get a compass and put | ||
| 48:48 | it right in the center of that pillar | ||
| 48:50 | there and point it up right through the | ||
| 48:53 | center of those pillars you find | ||
| 48:56 | something quite interesting Westminster | ||
| 48:58 | Abbey is not built exactly straight it's | ||
| 49:01 | on a slight wonky and it's actually | ||
| 49:04 | about four point five five degrees | ||
| 49:05 | pointing to the northeast that line of | ||
| 49:08 | columns now if you look on this thing | ||
| 49:10 | and you look at that line what does it | ||
| 49:11 | go through up here just to the north and | ||
| 49:14 | just to the east slightly the Northeast | ||
| 49:16 | exactly the same situation here which is | ||
| 49:18 | confirming that we are right and we've | ||
| 49:20 | got the pillars in the right place - how | ||
| 49:23 | are we going to play this out I think | ||
| 49:24 | it's fairly simple we take the very | ||
| 49:26 | center pillar there we take the Centers | ||
| 49:29 | of the two outer pillars and then we | ||
| 49:32 | draw a nice circle which I hope yes | ||
| 49:35 | that's done it we draw a circle and then | ||
| 49:37 | what we're going to do is we're simply | ||
| 49:38 | going to overlay this on to that so it | ||
| 49:41 | fits exactly and wherever this dot lands | ||
| 49:43 | should be where Shakespeare is buried | ||
| 49:45 | you when you can imagine my excitement | ||
| 49:46 | when I realized this was going to work | ||
| 49:48 | and of course I said to myself a minute | ||
| 49:50 | I see where it lands I'm gonna get in | ||
| 49:52 | the car and I'm gonna go straight to | ||
| 49:53 | Westminster Abbey and I'm gonna go to | ||
| 49:55 | that spot and I really hope that | ||
| 49:57 | there'll be some sign some some | ||
| 50:00 | something a little bit of scratching in | ||
| 50:02 | the stone to show that I've got it right | ||
| 50:04 | so there we are there's the fourth T dot | ||
| 50:06 | and there it is you see I'm pointing at | ||
| 50:08 | it right then now and if you can | ||
| 50:11 | probably see I made it bigger twist it | ||
| 50:13 | round | ||
| 50:14 | could anyone see what that says yeah | ||
| 50:17 | does it does it says Shakespeare that is | ||
| 50:20 | exactly where the Shakespeare Monument | ||
| 50:22 | is there there's the fourth T dot I | ||
| 50:23 | don't know how dumb and it's exactly | ||
| 50:25 | right in that right in the center of | ||
| 50:27 | that Shakespeare - so that's really | ||
| 50:31 | interesting is it not there there's the | ||
| 50:35 | Shakespeare tomb right there just for | ||
| 50:38 | your interest there's Spencer and | ||
| 50:40 | Chaucer I don't know if this is | ||
| 50:42 | irrelevant and I just throw it in just - | ||
| 50:44 | just for the sake of it that is a 90 30 | 50:48 | 60 angle triangle between Chaucer |
| 50:50 | Spencer and Shakespeare of course is the | ||
| 50:53 | ratio of six to four but I don't know if | ||
| 50:55 | that's relevant okay let's let's let's | ||
| 51:00 | just look at this and see if there's any | ||
| 51:02 | clues that we might be right apart from | ||
| 51:04 | the Extra Ordinary fact that | ||
| 51:06 | Shakespeare's monument in 1740 seems to | ||
| 51:08 | been dumped right on top of the spot | ||
| 51:10 | where Edward de Vere seems to be buried | ||
| 51:11 | right first thing let's have a look at | ||
| 51:13 | this okay let's have a look at this and | ||
| 51:17 | the thing he's pointing at | ||
| 51:18 | okay left the left-hand side we've got | ||
| 51:20 | there t-t-t-t-t-t-t-t-t-t forties where | ||
| 51:28 | did we see those can you remember yes we | ||
| 51:30 | saw them at the bottom right of the | ||
| 51:32 | Shakespeare Monument in Stratford and | ||
| 51:34 | now they're on the top left of the | ||
| 51:37 | monument here interesting this little | ||
| 51:40 | speech because many of you will know it | ||
| 51:41 | comes from The Tempest the passage | ||
| 51:44 | that's actually quoted here it starts | ||
| 51:46 | and like the baseless fabric of a vision | ||
| 51:48 | the cloud-capped towers that's | ||
| 51:50 | interesting and like the baseless fabric | ||
| 51:51 | of revisions down there the cloud-capped | ||
| 51:53 | has up there what's going on Miss quoted | ||
| 51:56 | it Pope who is responsible for putting | ||
| 51:58 | this up this is what you've done you've | ||
| 51:59 | got a Miss quite a shame for you idiot | ||
| 52:01 | on the Shakespeare Monument where'd you | ||
| 52:02 | go he said it stays it stays like it is | ||
| 52:05 | I want it like it is why because if you | ||
| 52:07 | put that up there you wouldn't get your | ||
| 52:08 | TTT which is all terribly important to | ||
| 52:11 | the message what do we got there | ||
| 52:12 | the cloud-capped towers oh that's funny | ||
| 52:15 | he's got rid of the e of towers what's | ||
| 52:17 | point of that why get rid of the e of | ||
| 52:18 | towers can you think I'll tell you why | ||
| 52:21 | he did it because he wants seventeen | ||
| 52:22 | letters across that top not 18 which | ||
| 52:25 | would wreck his little game because what | ||
| 52:26 | he's got now is | ||
| 52:27 | tene 40 down the side just as there | ||
| 52:31 | you've got 17 characters in the 40 1740 | 52:34 | what's all this about 1740 we'll come to |
| 52:36 | that in a second first of all look what | ||
| 52:38 | he's pointing at the cloud-capped towers | ||
| 52:40 | the gorgeous palaces the solemn temples | ||
| 52:42 | he's pointing in the word temples | ||
| 52:44 | described as solemn temples ring of | ||
| 52:47 | Solomon's Temple about it hey what he | ||
| 52:49 | were well what does the First Folio say | ||
| 52:53 | in the dedication to the patrons | ||
| 52:59 | Montgomery and Pembroke and the most | ||
| 53:02 | though meanest of things are made more | ||
| 53:04 | precious when they are dedicated to | ||
| 53:06 | temples in that name they're in the name | ||
| 53:10 | of temples therefore we most humbly | ||
| 53:13 | consecrate to your Honorables these | ||
| 53:15 | remains of your servant Shakespeare | ||
| 53:17 | actually it does it mean Honorables we | ||
| 53:20 | know we've got Ben Jonson mucking about | ||
| 53:21 | here we got that double H and yes of | ||
| 53:24 | course it meant Honorables in in | ||
| 53:25 | previous if there also earlier on in the | ||
| 53:27 | letter but here I think it means Holies | ||
| 53:29 | this bit is actually written to God and | ||
| 53:32 | that's why it's consecrated the remains | ||
| 53:34 | of your servant Shakespeare to your holy | ||
| 53:36 | so you remember twice in the Bible | ||
| 53:38 | holy holy holy art the Lord God Almighty | ||
| 53:40 | so it's another little John Sounion | ||
| 53:42 | trick okay | ||
| 53:45 | what the hell there why why is he | ||
| 53:47 | standing like that what is he doing | ||
| 53:50 | because he's got his right elbow stuck | ||
| 53:52 | out and his legs crossed good boy good | ||
| 53:57 | boy bit like bacon because I think Baker | ||
| 53:59 | was a member of this funny group called | ||
| 54:02 | temples possibly absolutely right so why | ||
| 54:04 | has he got his legs cross-eyed what if | ||
| 54:05 | you I don't know some of you who aren't | ||
| 54:07 | audience won't know as much about Edward | ||
| 54:08 | beer but it's very interesting because | ||
| 54:10 | he lived in he had runs the Masters | ||
| 54:13 | rooms in the Savoy Hospital than the | ||
| 54:15 | that was owned by the Knights | ||
| 54:17 | Hospitaller who took over all the | ||
| 54:19 | property from the Knights Templars and | ||
| 54:20 | they sort of merged into it and Edward | ||
| 54:22 | de Vere therefore lived a few yards from | ||
| 54:25 | the head of the temples the Temple | ||
| 54:27 | Church here's a typical Templar Knight | ||
| 54:29 | that's funny | ||
| 54:31 | exactly they say they give a right elbow | ||
| 54:32 | sticking out legs crossed getting an | ||
| 54:35 | idea what's going on here let's just | ||
| 54:37 | flip him round does that make it any | ||
| 54:39 | easier | ||
| 54:40 | yes you've probably got it it's our old | ||
| 54:42 | friend we're back again and of course it | ||
| 54:45 | is it's C it's the Cairo so it's so what | ||
| 54:48 | are we talking about are we saying they | ||
| 54:49 | are Jesus is that the game no some Paul | ||
| 54:53 | to the Corinthians | ||
| 54:54 | Christ liveth in me and this some Paul | ||
| 55:00 | says but they by the grace of God I am | ||
| 55:02 | that I am many of you will know that | ||
| 55:04 | Moses was told by God to go and deliver | ||
| 55:06 | a message to his people and Moses said | ||
| 55:08 | to him as an exodus who shall I say told | ||
| 55:10 | me to depart to do this message and God | ||
| 55:13 | says I am that I am so I am that I am | ||
| 55:15 | becomes the name of God and in certain | ||
| 55:17 | people it's blasphemous takus to say I | ||
| 55:20 | am that I am of yourself | ||
| 55:21 | didn't stop Edward de Vere I serve her | ||
| 55:23 | majesty and I am that I am and her | ||
| 55:25 | letter to Lord Burleigh and it didn't | ||
| 55:27 | stop Shakespeare I am that I am and they | ||
| 55:29 | that level of my abuse is wrecking up | ||
| 55:30 | their own sonnet one to one so what are | ||
| 55:33 | they saying they saying that the work I | ||
| 55:34 | do is done by the grace of God within me | ||
| 55:37 | now I did promise you I'd give you three | ||
| 55:39 | iterations of this message Shakespeare's | ||
| 55:42 | sonnets by God and Devere so that we can | ||
| 55:45 | validate it according to the code I'll | ||
| 55:48 | do that and then I think I'm going to | ||
| 55:50 | start - questions okay let's let's find | ||
| 55:52 | it at this so there's once yep remember | ||
| 55:53 | this Shakespeare's sonnets by God | ||
| 55:57 | Devere that's your once okay let's look | ||
| 55:59 | at where am I now | ||
| 56:01 | yeah look at this line here it's 17 | 56:06 | letters long 17 where numbers also |
| 56:08 | important to these people they're so | ||
| 56:09 | funny on the by at the beginning oh | ||
| 56:11 | that's nice and easy G T what does that | ||
| 56:16 | mean God and T is Jesus God and Jesus | ||
| 56:20 | are the same thing Jesus says I and the | ||
| 56:24 | father are one | ||
| 56:25 | notice how the font of this G there is a | ||
| 56:29 | swash font it's exactly the same swash | ||
| 56:32 | Bob does that he's telling you they're | ||
| 56:33 | the same one and now look at that this | ||
| 56:35 | was this was Mark who first spotted this | ||
| 56:38 | he said that T has been done in a | ||
| 56:41 | different font from that one it's been | ||
| 56:42 | made to look like an ox it's been made | ||
| 56:44 | to look like an ox its head deliberately | ||
| 56:45 | so we've got by God and that just sits | ||
| 56:50 | there perfectly easily d40 we saw that | ||
| 56:53 | that's Oxford | ||
| 56:54 | and what have we got left now I got a L | ||
| 56:56 | of George L and a re that's your perfect | ||
| 56:59 | anagram of 17,000 Oxford the 17th L so | ||
| 57:04 | that's the second time we've heard this | ||
| 57:06 | message and now we've got to validate it | ||
| 57:09 | TTT the third time where's that oh it's | ||
| 57:12 | back here | ||
| 57:13 | so do you remember this is very n so | ||
| 57:16 | just hold with me do you remember how I | ||
| 57:18 | showed you that you follow the 6 to 4 | 57:21 | code counting the words demarcated by |
| 57:24 | the dots and hyphens these sonnets all | ||
| 57:27 | by ever the fourth T we had so therefore | ||
| 57:31 | these sonnets are all by evm now what | ||
| 57:34 | happens if I decide to ignore the | ||
| 57:36 | hyphens and do exactly the same thing 6 | 57:40 | 2 4 6 2 4 but ignoring the hyphens these |
| 57:45 | sonnets all by ever-living well-wishing | ||
| 57:48 | T T is Jesus T is therefore God | ||
| 57:53 | everliving yes we all know God is | ||
| 57:55 | everliving well wishing well wishing | ||
| 57:58 | comes from the word the latin word that | ||
| 58:03 | comes benevolent there Netherland been a | ||
| 58:06 | meaning well Volland meaning wishing his | ||
| 58:09 | benevolence remain if forever Chronicles | ||
| 58:12 | 9 9 in a passage underlined by Edward de | ||
| 58:14 | Vere and his Bible looks in the in the | ||
| 58:16 | Folger | ||
| 58:17 | so look what we've got isn't that | ||
| 58:18 | amazing we just switch ON or switch off | ||
| 58:21 | the hyphens and the same piece of text | ||
| 58:23 | says these sonnets or by a via or these | ||
| 58:26 | sonnets or by God so that's the third | ||
| 58:28 | time you've got these sonnets by God and | ||
| 58:31 | of year or in other words these sonnets | ||
| 58:33 | by God by Devere and the grace of God | ||
| 58:36 | within him now I apologize | ||
| 58:39 | enormous ly to those who are not ox40 | 58:41 | ins but if you are playing this game |
| 58:44 | according to these rules that's now | ||
| 58:47 | final the only way you can get out of | ||
| 58:49 | this now is that don't play the game rip | ||
| 58:51 | up the rules and walk out and of course | ||
| 58:52 | you're entitled to do that but if you're | ||
| 58:54 | following if you're following the key | ||
| 58:56 | and doing it properly as we've done | ||
| 58:58 | systematically since I started this | ||
| 59:00 | speech its TTT we've had it three times | ||
| 59:03 | we now know where he's buried and I | ||
| 59:05 | think I'm going to stop right there and | ||
| 59:07 | I hope | ||
| 59:08 | a happy time | ||
| 59:09 | [Applause] | ||
| \end{document} |
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