Will's CODE: name puns, doublets, numbers, embedded letters


 To the right is a summary of my findings, the gist of the Elizabethan name pun subtituiton code:

Below are quotes that help focus my work.

“My intentions are, as you well know, more readily arguable and, in many cases, more conscious, more
mathematical, more cerebral if you will than those of most of my colleagues, whose more directly-aesthetic and unconsciously-sensitive impulses can sometimes be more easily felt than put into words.”

—M. C. Escher

from a letter to B. Merema, 10 May 1952                            

 “Use your eyes!”

—Leonardo Da         Vinci

“In general we look for a new law by the following process. First you guess. Don’t laugh, this is the most important step.
Then you compute the consequences. Compare the consequences to experience. If it disagrees with experience, the guess is wrong. In that simple statement is the key to science. It doesn’t matter how beautiful your guess is or how smart you are or what your name is. If it disagrees with experience, it’s wrong. That’s all there is to it.”

—Richard Feynman


Jeff Larkin, my doctor, said to his son Chris, “So if Peter’s right, how big is this?”

Chris Larkin, a Ph. D. candidate in English Renaissance Literature, answered, “It’s big. It’s



This Stratfordian study reveals how I discovered code words and letters that name key persons of Shakespeare's Sonnets as well as key code numbers that may give us a time-line.

The word that enables the naming code is "name." This word is used 17 times in 14 sonnets. 14 is an obvious sonnet code number.

                            In those sonnets can be found doublets—2 is                                    another key code number—used as name words or                             embedded letters for Will Shakespeare, Henry                            Wriothesley, Kit Marlowe, and Aemilia                                   Bassano Lanyer.

                              In other sonnets, the doubled (and multiplied)                                  code words may reveal new, autobiographical                                      details, other identities, and evidence of                                                 Shakespeare's sense of humor and the depth of                                  his language play that uses all the tricks of                                          Renaissance England’s love for classical rhetoric.

In addition, Sonnet 52 is found by the same doubled word and letter code to be a key Summer Solstice sonnet. If we count back from 21 June to Sonnet 1, we arrive at May 1st (our new calendar or N. C.) or April 24th of the Old Julian Calendar (or O. C.). If we count ahead to Sonnet 126, we arrive at September 3rd or August 27th O. C.

If Sonnets 40 and 133 are contemporaries, both revealing when Will first admits that the youth and the dark lady are having an affair, we can give them both the date of June 9th (N. C.). This lines up Sun & Moon.

Then, Sonnet 127, the first dark lady and lunar sonnet, becomes our June 3rd (along with its solar twin Sonnet 34), starting one possible 28 day

If any year is referred to, it might be 1592, but Shakespeare probably wrote and revised the Sonnets over the 20-year period
(14 X 2) lunar cycle within the 126 day (28 X 4.5) summer solar cycle of the youth's sequence.
(1589—1609) that spans the main years of his wonderful career as a dramatist.

A more complex view of this great sonnet sequence—and its ties to the plays and Shakespeare’s other poems than any of us has to date—is called for.

If, like me, you are a reader of all 154 sonnets and the attached “A Lover’s Complaint,” both published in 1609 as Shakespeare wished, then you and I may have wondered about many of the same topics. Please remember that I offer you all these insights in the spirit of scientific speculation with evidence and full of love for reading and puzzling over repeated patterns in William Shakespeare's texts.

                                              Author Photo by Sandy Jensen

                               —Peter Jensen
                              Eugene, Oregon