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Shakespeare's Secret Messiah Paperback – April 7, 2014
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By Joe Atwill
Book Review By Andre Austin
The second round in the Caesar’s Messiah series of three has just hit the stands and fan for all the Christian slaves and admires of Joe Atwill’s creative writing skills. If you haven’t read Caesar’s Messiah(CM) it’s a perquisite to reading his 2nd book Shakespeare’s Secret Messiah (SSM) and its DNA ancestor War of the Jews By Flavius Josephus Bar Matthias/ Joseph of Arimathea. However, in SSM Jerry Russell, PHD gives an extending introduction that touches deeply upon the 1st book. Atwill calculates that a third volume of the Caesar’s Messiah trilogy will come soon as Spiritual Bazaar: Wars and: A Jewess Strikes back. Don’t hold him to the title because SSM was supposed to be called The Single Strand; meaning that Christianity wasn’t worth one strand of his wife’s hair on her head.
What Atwill did for Littature in Shakespeare and the true history of Christianity is the equivalent of what Einstein did for science (E=M2) and the universe. Atwill decodes 666 and the Trinity allowing us laymen to decode Paul letters, Acts and Revelations. Much of the mysteries and secrets about Christianity have been out since 2005 and nobody has knocked Atwill off his square of truth telling. I’m a follower and disciple of him because he’s exposing lies and laying the hammer on the truth.
If Atwill was a lawyer he would file his brief (Caesar’s Messiah) with the court outlining the original intent of the framers of the New Testament in tricking the masses into believing Caesar was a God , the instigation of Anti-Semitism, make a fool of people, create pacifism and tax paying tribute to Rome. Unanimously 9-0 the Court would reverse and order a set aside of the Gospel’s canon and codification of any laws or so-called righteousness.
All English and history teachers should be reading SSM. Shakespeare is to Lit what Michael Jordan is to Basketball and no sports historian could ignore Jordan in their annals. When the “sodomite castrated slave” Paul said be a Fool for Christ it meant it not in a spiritual manner but as a slave bending to the will of the three (trinity) Flavian Caesar’s: Vespasian, Titus and Domitian. Domitian was the last to be of the Flavian Caesar’s but he was the first to be called Caesar in Rome because his father Vespasian (the father) and Titus (the son) were busy out of the country fighting and this is why he’s called alpha and Omega the beginning and end or the first and the last. Domitian didn’t like his brother and gave him the evil number of 666. The uneducated would have quickly thought it was referring to Nero because Suetonius in his Twelve Caesars cites a lampooning poem that talks about numbering the monster (beast) Nero. I then added that Suetonius was taking about Titus because he said Titus “would prove to be a second Nero”. Atwill takes it to another level and cites that Titus Greek name is Teitan with the two t’s =600 the E is five the I is 10 A is 1plus the N is 50 for a total of 666. Domitian was jealous that the 4 Gospel make The father and son divine as Christ. So he had Paul letters Acts and revelations make his the Christ that replaces Titus. The first Catholic Pope Clemens didn’t want to go along with this because he was used to Titus as Christ and Domitian had him executed. Domitian was the baldheaded sucker who wore a white lamb’s wool wig who wanted to be Satan (Lucifer/morning star) and a God. His Satan part took place by killing children dead (Rev 2:22) He is the rider of the white horse and the red complexion dragon attempting to kill pregnant mothers. Domitian defines the synagogue of Satan as the Imperial Cult of Vespasian and Titus who pretend to be Jews and are not. Domitian tries to discredit Vespasian and Titus for killing a million Jews, forcing them into cannibalism (Eucharist/Holy communion) and castrating all their tall handsome youth. However, I careful read of Revelation calls for another wave of killing Jews and more vampirism and cannibalism (Rev 17:16; 19:17).
“Through today virtually everyone sees Christianity as a religion, it was actually a system of mind control created by the Caesars to produce ignorant serfs/slaves that believed that God decreed their slavery…Below is the order of rank of the Feudal System”:
In 2014 we have basically the same feudal system is going on in new terms on a sophisticated level.
Now enter the Jewish Emilia Bassano the real ghost writer of Shakespeare. The hostile whites of England called the family member Moor or black and she was the dark lady or black mistress of Shakespeare’s sonnets. She was the first women in England to publish a long poem Salve Deus Rex Judaeorum (Hail God, King of the Jews). England wanted to expel blackamoors & Negroes from England so the Bassano’s pretended to convert to Christianity. The coat of arms of the Bassano family featured a mulberry tree. The mulberry tree is called morus in Latin, which is translated as moor in English. Some of her family members were from Africa in Morocco. Atwill decodes many of Shakespeare (Emilia Bassano) plays like Romeo and Juliet, Titus Andronicus, Hamlet and The Merchant of Venice as revenge and reversal plays against Titus, Rome and the Christians for their mistreatment of Jewish people. Atwill successfully decodes the allegory and typology of the plays. Atwill is a great admirer of Christopher Marlowe and Emilia. Marlowe was killed because he overtly wrote that the Gospels were a parody of Vespasian & Titus War of the Jews recorded by Josephus Bar Mathias. Marlowe was accused of believing that Jesus was a bastard, homosexual and that his mother was a whore (see p.83). But if Titus was pretending to be Jesus then the charge of bi-sexuality against Titus who was very fond of Eunuchs and Homosexuals he had in his musical troop and broke off relations with them for Bernice. Even Paul the sodomite slave under Domitian rule only banned “Homosexual offenders” from the Kingdom of Domitian (1 Corinthians 5:9). After Marlowe was killed Emilia would only write her plays exposing Christianity in a covert, allegorical form being the opposite of Marlowe’s overt writing. Atwill’s comrade in Literature John Hudson, only two months ago published his book Shakespeare’s Dark Lady gets more in detail about Emilia. “John has assured me (Atwill) that he will assert that these are the facts; that I discovered both that Emilia was the author and that the plays were reversals of the Flavians’ typology” of basing characters upon other characters from other times and places. However, Hudson did discover the Swan song code of Emilia name in the plays. I never liked Shakespeare because it was difficult to understand. With the works of Atwill and Hudson I’m starting to admire Shakespeare’s (Emilia) work now that I understand part of it. And now I’m seeing all the variation of Emilia’s name that plays cast of character roles in several of Shakespeare’s plays. Now English and history teachers can teach the real total context of Shakespeare works and how it relates to Christianity.
Atwill’s three round knockout against falsehood is getting bigger and bigger. He’s like Muhammad Ali knocking out all critics. He’s a bad man (bad meaning good), for he Shakes up the world to true light. Nobody has knock him out the ring and its almost impossible to get him off his square. He take the spear of his pen and stabs to death all the lies we have been told. I suspect that in round three of his volume 3 will be the final blow and mop up all the riff raff who don’t have a clue about Caesar’s Messiah.
Book Review By Andre Austin
particular female is spotty at best and fatal due to a number of unsupported assumptions. What killed his
theory for me was his absurd refusal to discuss or mention Francis Bacon especially when the King James Bible was
specifically supervised by Bacon who worked on it for many years. Atwill further ignores Francis Bacon's journeys to
Italy and ability to read and write in Italian as well as numerous other languages. While I appreciate the fact that
Atwill can imagine that a woman would have the ability to write the Shakespearian works, it is disappointing that
Atwill would knowingly fail to support the very assumptions on which his theory rests. It is further interesting that
Atwill jumped from the woman's brief romantic association with the Baron Hunsdon and some of the musicians at
court to the kind of knowledge that would come from a Francis Bacon or Earl of Oxford. Disappointing.
In order to appreciate Atwill's work you have to not only be able to think logically, but you must also accept a couple of ideas as axiomatic. By thinking logically I mean that you must be able to suspend, at least hypothetically, any non-evidence based, or faith-based belief systems you may hold. These include beliefs in Judaism, Christianity and, in the case of this book, belief in William Shagspere (a.k.a. "Shakespeare") as the One True Author of the Shakespearian works.
The required axiomatic bases are acceptance of typologies as valid and a willingness to accept that people 2,000 years ago were basically as intellectually developed as we are today. If you believe that mathematically impossible lists of parallels can only occur by coincidence, particularly if the parallels violate one of your faith based beliefs, then Atwill's work is not for you. If you believe that an oligarchical power elite could not possibly have acted in a Machiavellian manner prior to Machiavelli, then Atwill's work is also not for you.
The key to understanding Atwill's work is the concept of typology. This concept is explained in this book and in more detail in "Caesar's Messiah". There are certain quasi-historical (or 100% mythical) personae who appear from time to time with certain characteristics intact and others changed to suit their respective historical period. (Think "movie remakes" as a modern example of this.) Once you have successfully wrapped your head around that concept in Caesar's Messiah, Atwill throws a curve ball in Shakespeare's Secret Messiah, forcing the reader to comprehend typological characters who are either reverses of their types heretofore, or at least act in ways that are switched around from their behaviour in the New Testament and/or the works of Josephus, Suetonius and other authors of that age.
The authoress along with other collaborators of the Shakespeare plays had a specific reason for creating these reverse typologies, which Atwill develops fully. To state it baldly and briefly might put some people off, so I won't go into it here.
The discovery and proof of the validity of a typological coupling of different characters can be compared to the study of fingerprints. In regard to chapter 10, "DOMITIAN'S TRINITY IN ACTS", I make the analogy of the discovery of several partial fingerprints at a crime scene that must be assembled to form a complete print which can only then be used to identify the person who left the partial fingerprints. To solve a puzzle that has mathematical elements involving the numbers three, 153, and the other three-digit numbers that appear in the New Testament, Atwill compares passages from the Gospel of John, the Book of Acts, works of Josephus, and the mathematician Pythagoras's fishing story to explain the appearance of these numbers and the likely reason for The Vesica Piscis as an early Christian symbol.
Rather than commenting further I will summarize the basic contents, which go far beyond a re-evaluation of Shakespeare. Perhaps a more descriptive but unwieldy title could have been "Caesar's Messiah, Part 2, featuring a lengthy discussion of the fact that other people knew all about it in the 16th Century, but couldn't discuss it openly for fear of severe punishment, including death, plus some other interesting and related information."
The first, section of this book is the thorough "INTRODUCTION: A REVIEW OF CAESAR'S MESSIAH" by Jerry Russell. This introduction could be called a Reader's Digest version of "Caesar's Messiah", with excellent commentary, some of which is not in full agreement with Atwill.
Atwill discusses the Shakespearean works Titus Andronicus, Romeo and Juliet, Hamlet, The Merchant of Venice and a few of the Sonnets. He dissects Christopher Marlow's "The Jew of Malta", and discusses Marlow's certain knowledge of Christianity as an invention of the Flavian Caesars and the apparently fatal result of his being indiscreet about his knowledge. Atwill introduces the Dark Lady herself, Emilia (a.k.a. Amelia) Bassano, her history and the published works attributed to her.
In the previously mentioned Chapter 10, Atwill discusses the influence of the third and last Flavian emperor, Domitian, as well as the Roman authors who worked on Domitian's behalf. Perhaps the second tour de force of this book after the Shakespeare discussion is a line by line analysis of the Book of Revelation in Chapter 11, "REVELATION AND DOMITIAN'S IMPERIAL CULT". If you have puzzled over the "meaning" of the Book of Revelation, read this chapter and puzzle no more. There are separate chapters devoted to "The Seven Seals and the Pauline letters" and the "Ass-headed Christ".
But wait, there's more! Chapter 14 is "THE SCOPE OF ROMAN PLANNING: RABBINICAL JUDAISM". Atwill does a thorough but concise job of showing that the Romans were the guiding, supporting and mentoring force in turning Judaism from its militaristic, Messianic core into the more pacific religion of Talmudism. I suspect that Joe will not be as welcome on Rodeph Emet TV as he once was, but I hope I'm wrong. The Romans covered their bases not only with Christianity, marketed to pacify both Jews and Gentiles, but also with Talmudism to pacify Jews through the re-training and re-focusing of their religious leaders.
Speaking of Rodeph Emet TV, there are dozens of interviews featuring Joe Atwill on Youtube and elsewhere, as well with other scholars, including Jerry Russell, John Hudson and Robert Eisenman, who discuss Atwill's concepts. Have a look around if you are not certain about buying this book or Caesar's Messiah. I predict you will soon be looking for more information direct from the source! Atwill and Russell have also begun a project called "postflaviana" (q.v.) to explore other connections with the Flavian legacy. The idea is to build upon the new-found, or at least newly exposed, knowledge of the Flavian literature, and use it to deconstruct the stultifying effect that the Flavians have had on human progress.
I also recommend The Dark Lady: The Woman Who Wrote Shakespeare's Plays as complementary to SSM. It's a beautiful book with several pages of illustrations. The author, Shakespearian scholar and producer of Shakespeare plays, John Hudson, goes even farther than Atwill in showing that Ms. Bassano was a chief author of the Shakespearian canon. Hudson credits Joe Atwill for the original idea of pursuing the line of research that led to this remarkable book.