Given that his skill as a bard is already well-known, is William Shakespeare also a skilled cryptographer?
By: Ringo Bones
This so-called “new way” of looking at Shakespeare’s Folio and Sonnets as a cryptographic device was absolutely newfangled to me after it was mentioned in an episode of the History Channel’s The Curse of Oak Island and thus familiarizing the rest of the world with Petter Amundsen’s new way of looking at Shakespeare’s works as a secret treasure map. To most grade-school pupils in the early 1980s – Shakespeare was usually synonymous with one of the “most boring” aspects of the English language ever taught in school. It was just too bad that a swashbuckling and Knights Templar treasure related aspect of Shakespeare was relatively unknown to grade-school kids at the time.
Petter Amundsen’s day-job is a church pipe organist and while he admits that his maybe a strange profession for someone writing a book about hidden treasure. Amundsen remarks that his training as an organist is similar to that of a symbologist – as it includes learning about languages and symbols.
Amundsen’s initial experience with Shakespeare during his formative years didn’t impress him, as with most boys elsewhere in the world with “swashbuckling daydreams” during their mundane seventh-grade Shakespeare class. Later in life, Amundsen came across a story about a cipher on William Shakespeare’s gravestone while investigating stocks and future’s markets online. Amundsen became so fascinated with the subject of cryptographic aspects of Shakespeare’s literary works that he dropped his pursuit of stocks and futures investing to pursue the Shakespeare cipher angle. Amundsen bought a facsimile of Shakespeare’s original Folio of thirty-six plays and when he began looking for cryptic patterns, he found several, not only in the original folio of thirty-six plays but also in the original collection of Shakespeare’s Sonnets, which translated to a celestial map that could correlate with locations on the ground.
The pattern Amundsen found is a square and compass celestial pattern that mimics some aspects of some secret societies – such as those of the Freemasons – and he then mentioned features that locked in a source point on the map, such as the star Deneb. Amundsen then went on to say that if the original zero meridian of Shakespeare’s day – i.e. around the reign of Queen Elizabeth I – one which ran through west of the Canary Islands – rather than the modern-day meridian located on Greenwich, that celestial point corresponds to the coast of modern day Nova Scotia on Oak Island itself.
Amundsen noted that the Rosicrucians probably had a hand in the publication of Shakespeare’s portfolio and notes that the Rosicrucians created patterns in their own publications of the day and invited people to search for these. So for Rosicrucians to place patterns in Shakespeare’s work wouldn’t be far-fetched. Amundsen also theorizes that Shakespeare wasn’t the author of all of his plays, acting more like a “front-man” for the speculated actual three authors of the plays attributed to Shakespeare, pointing out that the children of the man called William Shakespeare were illiterate – something that would be highly unusual for someone who virtually was credited for codifying the modern English language.