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While it is argued that Edward de Vere is the author of the works published under the name William Shakespeare, without Francis Bacon’s intervention, William Shakespeare wouldn’t have become the global phenomenon that he is.
Bacon, Lies are Unbekoming argues, is the architect behind transforming a pseudonym into the Shakespeare myth. Bacon’s role was to propagate the myth, using his understanding of the power of theatre to shape minds and create a unifying national narrative.
However, this Shakespeare narrative served a greater purpose than merely acting as propaganda for the House of Tudor and/or promoting national unity. It was used to create a psychological foundation for establishing and maintaining the British Empire.
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Sir Francis Bacon (1561–1626) was an English philosopher, statesman and scientist. He served as Attorney General and Lord Chancellor of England under King James I. Then his political career collapsed, after which he turned his hand to becoming a philosopher of science.
He is widely regarded as a foundational figure in the development of the scientific method and is often called the father of empiricism. He was the foundational influence behind the Royal Society. But his influence wasn’t only in Britain; it extended into Continental Europe.
As The Francis Bacon Society notes, “In the last five years of his life, Bacon had written almost exclusively in Latin, and translated certain English writings into what was then the Universal Language. As a result, he was known and admired on the continent; thus were the seeds sown for a pan-European scientific movement.”
Bacon viewed the imagination as a source of delusion and was an occultist. In its beginnings, according to Matthew Ehret, the Royal Society dealt principally in black magic rituals and alchemy.
According to a recent essay by Lies are Unbekoming, we can add to Bacon’s dubious attributes his involvement in what we would now call the propaganda machine. We should bear in mind that not all propaganda is negative; it can be used to promote positive causes. Propaganda’s moral value depends on the intent and content of the message rather than the act of persuasion itself. Judging by Bacon’s dodgy personal beliefs, we should, whatever our views, at the very least question the intent behind his propaganda.
The following is the essay by Lies are Unbekoming titled ‘The Shakespeare Deception: Authorship, Empire and Manufactured Myths’. We have split the essay into 5 parts. Below is the third part. You can read Part 1 HERE and Part 2 HERE. We will be publishing additional parts in subsequent days. If you would like to read the essay in one sitting, you can read it on Substack HERE.
The Shakespeare Deception: Authorship, Empire and Manufactured Myths Part 3
IV. The Bacon Connection: Architect of the Myth?
A. Bacon’s Role
While Edward de Vere wrote the plays, Francis Bacon may have been the architect who transformed a necessary pseudonym into a nation-building myth. The evidence doesn’t support Bacon as the author – his prose style is unmistakably different from Shakespeare’s, and his biographical details don’t match the plays’ content. However, Bacon’s fingerprints are all over the creation and propagation of the Shakespeare myth itself.
The famous “Promus Notebook,” containing 1,500 quotations in Bacon’s hand with 600 appearing in Shakespeare, likely represents not authorship but shared source material – a commonplace book that both men could have accessed. More intriguingly, Bacon’s philosophical writings reveal an obsession with the power of theatre to shape minds, his famous observation that plays work upon audiences “as the bow to the fiddle.” He understood that drama could be a tool of statecraft, a means of creating what he called “idols of the theatre” – false beliefs that seem like reality.
Bacon’s vision extended far beyond literature. As the “father of modern science” and likely founder of modern Freemasonry, he was engineering multiple systems of knowledge and power. His goal, stated explicitly in Novum Organum, was to “enlarge the power and empire of mankind in general over the universe.” The Shakespeare plays, properly mythologised, could serve this ambition by creating a unifying national narrative that would inspire imperial expansion.
B. The Strategic Deployment
The transformation of the plays from de Vere’s personal art into Shakespeare’s universal mythology began with ‘The First Folio’ of 1623 – seven years after William Shakespeare’s death and nineteen years after de Vere’s. This wasn’t just a collection of plays; it was a carefully orchestrated piece of propaganda. The impressive folio format, usually reserved for Bibles and religious texts, elevated the plays to sacred status. The introduction, with its dubious Droeshout portrait and Ben Jonson’s laudatory poems, created the myth of the Stratford genius out of whole cloth.
Ben Jonson himself is the key link. He knew both de Vere and Bacon personally, moved in the same court circles and had the literary skill to craft the elaborate deception. His poem in The First Folio calling Shakespeare the “Sweet Swan of Avon” created the geographical link to Stratford while his declaration that Shakespeare was “not of an age but for all time” transformed a contemporary writer into an eternal principle.
The Freemasons, likely founded or reformed by Bacon, became the myth’s greatest propagators. David Garrick, the Freemason who organised the Shakespeare Jubilee of 1769, turned bardolatry into a secular religion. Freemasons recognised the Masonic symbolism throughout the plays – the earliest consistent use of such symbols in public literature – and felt duty-bound to promote their brother’s work. Through Masonic networks that reached across the British Empire, Shakespeare became not just England’s poet but the voice of English civilisation itself.
V. The Imperial Project: Why the Myth Mattered
A. Creating National Identity
The myth of Shakespeare served a purpose far greater than protecting de Vere’s identity or satisfying Bacon’s philosophical ambitions – it created the psychological foundation for the British Empire. The story of the humble glover’s son who became the world’s greatest writer embodied the meritocratic fantasy that England wanted to believe about itself. If a nobody from Stratford could write Hamlet, then England itself, that small island nation on Europe’s periphery, could become the centre of the world.
The democratic appeal was crucial. Unlike the classical authors who were clearly aristocratic and educated, Shakespeare supposedly proved that genius could emerge from anywhere, that English common sense could trump Continental sophistication. This wasn’t just flattering to national vanity; it was essential to empire. Colonial administrators from Bombay to Barbados could see themselves in Shakespeare’s rise, could believe that they too were part of a special nation capable of special things.
The plays themselves became instruction manuals for Englishness. John of Gaunt’s “sceptred isle” speech from ‘Richard II’ taught every schoolchild that England was “this other Eden, demi-paradise … this precious stone set in the silver sea.” The history plays rewrote the English past as a triumphant march toward greatness, transforming the sordid Wars of the Roses into noble struggles for justice. Shakespeare didn’t just reflect English values; he created them.
B. The Propaganda Function
Modern scholars acknowledge what earlier generations tried to hide: the history plays are Tudor propaganda, deliberately distorting historical fact to legitimise the current regime. Richard III becomes a demonic hunchback to justify his overthrow by the Tudors. Prince Hal’s transformation into Henry V glorifies imperial conquest as a moral duty. The plays taught audiences not just what happened but how to think about what happened.
This propaganda function extended beyond explicit political messages. The plays modelled a worldview where hierarchy was natural, where order must triumph over chaos, where England stood as civilisation’s defender against barbarism. When Prospero announces he’ll “drown his book” at The Tempest’s end, he’s not just renouncing magic – he’s demonstrating the English virtue of pragmatic action over Continental mysticism.
The timing was perfect. The plays appeared just as England was beginning its transformation from a peripheral kingdom to a global empire. They provided the cultural confidence necessary for a small nation to believe it could and should rule vast portions of the globe. As historian A.L. Rowse observed, in England’s darkest hours, “while the planes go over Normandy, it is still his words that come to our lips.” Shakespeare had become England’s secular religion, what George Bernard Shaw mockingly but accurately called “bardolatry.”
C. Cultural Colonisation
The British Empire’s greatest weapon wasn’t the Maxim gun or the steam engine – it was Shakespeare. Taught in schools from Calcutta to Cape Town, the plays became the mechanism through which colonial subjects internalised British values. To be educated meant to know Shakespeare; to know Shakespeare meant to think in English patterns, to accept English superiority as natural and inevitable.
Thomas Carlyle wasn’t being poetic when he called Shakespeare a “real, marketable, tangibly useful possession.” The plays were tools of soft power more effective than any treaty or trade agreement. They made English not just the language of administration but the language of aspiration. Colonial subjects who could quote Hamlet demonstrated their civilisation, their fitness for self-governance – always, of course, within the British system.
This cultural colonisation continues today. Shakespeare remains the most taught author in the world, his plays translated into every major language, his words shaping how billions think about love, power, ambition and mortality. The sun may have set on the British Empire, but Shakespeare ensures that English cultural assumptions still illuminate – or shadow – the globe.
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