Twelve Years in the Life of Shakespeare now on Kindle

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Twelve Years Cover Thumbnail (compressed)Hank Whittemore’s Twelve Years in the Life of Shakespeare (a compilation of his “A Year in the Life of Shakespeare” columns published in Shakespeare Matters from 2001-2005 during the years of my editorship there) is now available on Kindle (amazon.com).

These columns (covering years in the author’s life ranging from 1564 to 1604) are a great way to experience both the personal and political POV on Shakespeare that comes from viewing the works through the lens of the Oxfordian theory of the Shakespeare authorship. The final columns in the collection, covering the years 1601-1604, focus on the Essex Rebellion, the death of Queen Elizabeth and the accession of King James, and make much use of Whittemore’s “Monument” theory that Shakespeare’s Sonnets were primarily concerned with these events.


Revisiting the 1987 Moot Court Trial

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Yesterday I posted a VERY long post that, in hindsight, I think was too long, put two different topics side-by-side in one post, and also buried at the end some material that I think ought to be put out there on its own, just for the record if nothing else. So I chopped yesterday’s post in half, and am posting the second half (my thoughts on the 1987 Moot Court Trial in Washington DC, then and now) separately in this post. It also affords me the opportunity to add some further thoughts based on one of the presentations given at the just-concluded Shakespeare Authorship Studies Conference at Concordia University in Portland (OR).

Ogburn (1987, compressed)

Charlton Ogburn listens intently during the Moot Court Trial. (Photo credit Bill Boyle, all rights reserved)

In 1997 I was the editor of the Shakespeare Oxford Newsletter, and wrote our lead story for the summer 1997 issue, which was a 10th anniversary appraisal of the impact of the Moot Court. Given the historic events at the Folger last week (i.e., the “Shakespeare and the Problem of Biography” conference), I thought I’d reprint the bulk of that article here to provide some history and context on where we’ve been, and where we are undoubtedly headed, which is, simply (as we all hope) to the truth about who Shakespeare was (i.e., Edward de Vere, 17th Earl of Oxford), and how and why he became “Shake-speare.”

There were two things on my mind in re-visting the Moot Court Trial through the 1997 article:

1) First, it makes the point that Ogburn’s The Mysterious William Shakespeare (published in 1984) precipitated the event, along with several other major events in the 1980s, all of which set the stage for the next 25 years. And along the way the events surrounding the trial show how fast and loose opponents of the debate can be (and have been, and still are) in obstructing progress (what a surprise). In my own humble opinion, it was Ogburn’s book that lead — inevitably — to the Folger’s “Problem of Biography” conference last week. True, much has happened since TMWS was published, but it clearly set in motion the great advances that have taken place in the authorship debate over the past decades, and that should not be forgotten. Thirty years ago the idea of the academy dealing with the biography of the Stratford man was a non-issue, and text was king. Today the bunker-like Folger is under siege on the issue, and has no good answers. This year is the 30th anniversary of the publication of TMWS, and some recognition should be made of how important it was in getting us to where we are.

2) Second, the Trial itself gets right to the question of “What happened and Why?” I discuss in the article this problem of how to characterize just what took place 400 years ago that resulted in the author of the greatest works in Western Literature being deprived of his due credit, and even, in fact, being erased from history altogether. In 1987 the exchanges that took place over the word “conspiracy” were quite revealing, as were Ogburn’s own thoughts on the matter. The word itself has become so demonized in our present culture that using it almost automatically leads to ridicule. Yet we are then left with the question, “Well, what did happen, and how do we describe it?” And if what did happen was that a handful of individuals “conspired” to misrepresent the truth and hand down to posterity a false history, what word can we use? Readers should note what Justice Stevens said in his closing remarks about conspiracy.

This debate over conspiracy (both the word and the concept) has raged on for the past thirty years. Just what do we mean by “conspiracy?” At the Folger conference last weekend I had some interesting conversations with several colleagues about this very question. And then, just this past weekend, one of the presentations given at the authorship conference in Portland (“The Use of State Power in the Effort to Hide Edward de Vere’s Authorship of the Works of William Shakesepeare,” by James Warren) laid out a well-reasoned argument for just what may have happened (and why), all without using  the dreaded “C” word. What Warren discusses in his presentation dovetails nicely with some of what was said in 1987 about these questions of “What happened?” and “Why?” They are important questions that must be dealt with, sooner or later.

I’ll be posting more on this in the coming weeks, but I did want to get my reprint of the Moot Court article out there in a way that wouldn’t get overlooked, and that emphasizes this important issue. As we all love to say, “Stay tuned.”

Following is an edited version of my article. A PDF of the complete article is available here (SON33.3 (Summer 1997)_Boyle_1987 Moot Court Trial), and includes some more pix and a one-page sidebar article on the Shakespeare Oxford Society’s 11th annual conference, held the day after the debate.


The 1987 Moot Court Trial – “Ten years later the verdict is in: Edward de Vere and the Oxfordians won”

The events of September 25th-26th,1987, in Washington DC should eventually be known as one of the true watershed moments in the history of the Shakespeare authorship debate.

Moot Court (1987)_Blackmun_Brennan_Stevens (compressed)

Justices Blackmun, Brennan and Stevens listen to arguments during the 1987 Moot Court Trial on the Shakespeare authorship question. The event was covered on C-SPAN and made the front pages of The New York Times and The Washington Post the next day. (UPI photo)

First, there was the Moot Court Trial, held on Friday, September 25th, at American University, with three Justices of the United States Supreme Court presiding. This event attracted mainstream media coverage of the authorship debate such as had never been seen before in this century. And while the official result was a seemingly decisive 3-0 verdict for the Stratford actor, the true story from that day is that two of the three Justices presiding actually began a journey which eventually brought them to Oxford’s doorstep in the 1990s (along with many hundreds of other former Stratfordians).

Meanwhile, at the 11th Annual Conference of the Shakespeare Oxford Society (held in conjunction with the Moot Court event), history was also being made. The turnout of new Society members from around the country, all gathered together for the Moot Court, resulted in well-attended morning and afternoon meetings on Saturday, September 26th, which in turn resulted in the near tripling of the size of the existing Board of Trustees (from 5 to 14 members), and the beginning of 10 tumultuous years of growth and change. (See page 9 for a separate story on the 11th Annual Conference.)

There are undoubtedly a number of our current members who first became aware of the authorship issue through publicity immediately surrounding the Moot Court, or six months later through the James Lardner article on the event in The New Yorker (April 11,1988). […]

Looking back on all this 10 years later it is clear how far the Oxfordian cause has come in so little time. What has also become clear over these same 10 years is that some key questions are still with us today, questions about how to debate the authorship issue, how to publicize it, how to deal with the inevitable controversies that come along with it (controversies both with our adversaries and among ourselves) — in short, questions over how, ultimately, to prevail.

Charlton Ogburn has said, in 1987 and still today, that he was against this idea all along, believing that a narrowly focused legal proceeding could never do justice to the debate. However, as Oxfordian David Lloyd Kreeger pressed ahead with his plans for the Trial, there was an understanding that the actual trial would be not so much a trial as a head to head comparison of the case for Oxford as presented in The Mysterious William Shakespeare, verses the case for the Stratford man as presented by his best advocate using the standard biographies and evidence.

Controversy first arose in the days before the Trial, when Ogburn got hold of James Boyle’s brief on the case (Boyle was defending the Stratford man), and much to his horror found it to be page after page of what he considered to be boiler-plate Stratfordian arguments, combining the worst of such chestnuts as “All his contemporaries knew Shakespeare wrote the works” to what Ogburn considered some egregious misrepresentations of what he had written in The Mysterious William Shakespeare.

In preparing this article, Ogburn shared with us some of the letters he wrote in the months after the Trial. His chief concern was that attorney James Boyle’s entire brief felt to him as if it had been taken wholesale from some doctrinaire Stratfordian source, and Charlton more than once suggested to Boyle that he disassociate himself from such “slander.” Boyle never responded to Ogburn’s letters, but eventually, through a third party, Ogburn was assured that Boyle had indeed written the brief, and that he stood behind it.

A year later, however, Boyle did talk in print about the Trial, the authorship question, Oxfordians and Stratfordians in his article “The Search for an Author: Shakespeare and the FramersAmerican University Law Review 37:625(1988).

In the article’s first endnote Boyle dedicates the entire article to Samuel Schoenbaum, who, he says, allowed works to be part of the record for the case [i.e. the Moot Court], and further, who had recommended to Boyle “certain works on the subject.” Boyle goes on to state “I commend Mr. Schoenbaum’s beautifully written and charmingly humorous Shakespeare’s Lives to the reader as an example of what Shakespearean scholarship should be like.” Score one for the instincts of Charlton Ogburn.

There was more controversy on the day of the Trial. Justice William Brennan announced, in his opening comments, that the three-man Moot Court would follow more traditional legal proceedings, and that in the absence of a lower court ruling on this case (Shaksper vs. Oxford), Brennan ruled that the burden of proof was on the Oxfordians both to dismiss the Stratford man, and to establish Oxford — all in 1 hour! No similar burden was placed on the Stratford side.

Brennan’s surprising decision to place the entire burden on the Oxfordian side immediately illustrated what is probably the key issue in the authorship debate: to dispose or not to dispose of the Stratford man. Brennan stated that since his [Shaksper’s] claim went unchallenged for two centuries, it carried with it the presumptive weight of the law and it would take a “preponderance” of the evidence to take the works away from him (not just “reasonable doubts”). Justice Blackmun remarked to Brennan that “he hadn’t checked that with us [i.e. Blackmun and Stevens].” The exchange led to some laughter, but Charlton Ogburn was not one of those laughing.

With the burden of proof now totally on the Oxfordian side, the outcome of the Trial was a foregone conclusion. It also reinforced the importance of “disposing of the Stratford man” as a key issue whenever debating the authorship. Charlton Ogburn is quoted in the New Yorker article as saying, “You can’t get anywhere with Oxford unless you dispose of the Stratford man.” He repeated this point almost verbatim it us in our recent talk with him. And it’s easy to see why he feels this way. He cited in 1987 the experience of his parents with This Star of England, noting that “they made one terrible miscalculation. Until they got to the very last chapter, they didn’t even mention the Stratford man.”

The other key authorship issue that emerged during the proceedings can be summed up in one word: conspiracy. It is a word that neither Ogburn nor Society Vice-President Gordon Cyr is quoted as using in 1987, and in fact this word is completely absent from Lardner’s New Yorker report, although in the course of the Trial it made several prominent appearances.

Indeed, one senses that this was both Ogburn’s and Cyr’s chief concern in the days before the Trial. As reported by Lardner, Cyr worried about such matters as how many Oxfordians would show up, whether “fringe elements” would be among them, and generally how to cope with all the publicity. “Cyr was expecting…more Oxfordians, perhaps, than have ever been assembled in one place,” Lardner writes.

And in discussing what these “fringe elements” might bring up, Cyr stated that he had in mind such matters as the Ashbourne Portrait and the theory about Southampton’s parentage. A strange pairing of concerns, it seems to some of us today.

For while the Southampton issue rages on even today as a central and important piece of the whole story (and one which can open up the Pandora’s box of political conspiracy as part of the true story, Sobran’s Alias Shakespeare notwithstanding), the Ashbourne Portrait story now seems more like an interesting sideshow. The story in 1987 that concerned Cyr was the Folger’s rejection of the underpainting of the portrait as being the lost Ketel portrait of Oxford. But today that seems about as insightful as their recent attempts to deflect interest in de Vere’s Geneva Bible by claiming that Oxford didn’t make the annotations.

Meanwhile, early on in the Moot Court proceedings, Justice Brennan brought home this second key issue when he told Jaszi that the entire authorship debate sounded to him like a “conspiracy theory,” to which Jaszi immediately responded that a conspiracy was not necessary in a totalitarian society. This response sounds very much like what Charlton Ogburn has said for years, and which he repeated to us this year. “In a totalitarian society, it’s not conspiracy,” he stated. “Elizabeth’s word was final.” For some Oxfordians in 1987 this tactic (i.e., not even using the word “conspiracy”) seemed like a mistake, a matter of bobbing and weaving with our opponents rather than diving headlong into the seemingly unavoidable center of the issue. Somewhat later in our talk with Ogburn we returned to the subject of … “conspiracy,” and he remarked that, “[for anyone] to say no to ‘conspiracy’ is naive; it’s how the world works.”

At the end of the day, Justice Stevens had the last word, and he did not pull back from using the dreaded “C” word. He first brought a smile to Ogburn’s face when he remarked, “…I am persuaded that if the author is not the man from Stratford, then there is a high probability that it is Edward de Vere. I think his claim is by far the strongest of those that have been put forward.”

justicestevens (npr image_compressed)

Justice John Paul Stevens was clearly sympathetic to the Oxfordian case during the 1987 trial, and just a few years later he came out publicly in support of Oxford. (NPR photo)

A few moments later, however, he cut straight to the heart of the debate and to this primary tactical dilemma that comes with it. “I would submit,” he stated, “that, if their [Oxfordians’] thesis is sound, that one has to assume that the conspiracy — I would not hesitate to call it a ‘conspiracy,’ because there is nothing necessarily invidious about the desire to keep the true authorship secret — it would have to have been participated in by [Heminge and Condell and Digges and Jonson] …in my opinion the strongest theory of the case requires an assumption, for some reason we don’t understand, that the Queen and her Prime Minister decided, ‘We want this man to be writing plays under a pseudonym.’”

“Of course,” he continued, “this thesis may be so improbable that it is not worth even thinking about; but I would think that the Oxfordians really have not yet put together a concise, coherent theory that they are prepared to defend, in all respects.”

Stevens’ words were a fitting conclusion to the Trial, and they ring as true today as they did ten years ago. He has since written on the subject of the authorship (“The Shakespeare Canon of Statutory Construction” [published in the April 1992 University of Pennsylvania Law Review], clearly indicating his continuing interest and sympathies in the debate, while Blackmun has stated flatly (in the second edition of Ogburn’s The Mysterious William Shakespeare) that he would “now [1992] vote for the Oxfordians.”

In the ten years since much has happened, and at the Society’s Annual Conferences in the late 1990’s there are regularly four to five times as many Oxfordians gathered together each year as the 1987 turnout that so concerned Gordon Cyr.


… And last, but certainly not least, mention must be made of the importance of publicizing the authorship debate, something which the Moot Court Trial contributed to greatly, and which was followed by the Frontline documentary, The Shakespeare Mystery (1989), the Atlantic Monthly cover story (“Looking for Shakespeare,” October 1991), and such books as Richard Whalen’s Shakespeare: Who Was He? (1994). Now such efforts have taken on a whole new dimension with the phenomenon of the Internet. For here exists a venue where the debate can be experienced by thousands, and where there are no space or time limits for either presenting material or reaching a verdict.

… So it may be that Stratford’s Shaksper and his supporters will never be “officially” dislodged, neither by a smoking gun nor by a legal ruling. Instead, one by one future generations may simply—like Supreme Court Justices—leave Stratford, and soon all that will be left is a ghost town full of bewildered scholars, their legal claim to Stratford still firmly in hand, wondering what happened.

Authorship by Indirection


Richard Waugaman (l) and Hank Whittemore (r) talk with another attendee during break time in the Great Hall.

Richard Waugaman (l) and Hank Whittemore (r) talk with another attendee during break time in the Great Hall.

It’s now two days later, and I’m gathering my thoughts after attending a remarkable three day conference at the Folger Shakespeare Library, “Shakespeare and the Problem of Biography.” About 150 attendees packed the small Folger Theater to hear some of the major names in Shakespeare studies speak on a topic that those of us involved in the authorship debate have grappled with for years. In addition to myself there were a handful of other Oxfordians present, including Roger Stritmatter, Hank Whittemore, Peter Dickson, Richard Waugaman, James Warren, and Shelly Maycock. The authorship debate itself was barely mentioned, although on several occasions Delia Bacon and Baconians came up, most notably in a presentation on the final day, “Secrets and Ciphers; Decoding the Decoders,” that had much fun showing Baconians getting lost in cipher codes, and concluding with William Friedman taking them on and taking them down in 1954 with his The Shakespearean Ciphers Examined.


Prof. Graham Holderness (University of Hertfordshire)

Prof. Graham Holderness (University of Hertfordshire)

The word Oxfordian was spoken once, at the very end of the last day, when Graham Holderness (University of Hertfordshire) mentioned the movie Anonymous during a Q&A and noted that the depiction of Oxford in it was a disservice to Oxfordians since it showed a Shakespeare who was not a man of the theatre. Holderness also made a statement that I have been using for years to characterize the real problem inherent in having no biography of the author in hand, namely that interpretations can go all over the map when they are unbounded by any facts about the author: “What’s to be done if anything can mean anything to anyone?” he asked. John Drakakis (University of Stirling), to whom the question was directed, replied, “Yes, it’s a problem … the debate will go on, it won’t ever end.” [and at this point I wrote in my notes, “how about replacing the wrong author with the right author? … that would help]

My initial take on the whole event is that it represents a real attempt to deal with the authorship debate, but only by indirection, to borrow a phrase from one paper, “Anne by Indirection,” in which the life of Elizabeth Quiney (wife of the guy who once wrote but never sent a letter to the Stratford man) was parlayed into a “probable” portrait of Anne Hathaway—believe it or not—and that “probable” portrait could then tell us things about her husband. Over and over during the three days the same themes kept popping up, in one form or another: can a text be interpreted and understood without a lot of facts known about the author? Is the author “in” his works somehow, whether he means to be or not? Does the biography of the author matter at all? Why are there so few facts available to us about this particular author, Shakespeare? What is the role of generations of critics and their criticism in understanding Shakespeare? What is the relationship between biographies of an author and criticisms of his/her work? This is a short list that I think touches on the highlights of what was said most often.

Let’s remember, it was thirty years ago this year that Charlton Ogburn published The Mysterious William Shakespeare, and re-ignited the authorship debate for a new generation. Just a year later William F. Buckley featured Ogburn and his book on Firing Line. A couple of years after that came the Moot Court debate in Washington DC (1987). And two years later came the Frontline documentary, The Shakespeare Mystery (1989). The debate has raged on since then. But through it all the mainstream scholars have stood firm on two things: they had the right guy, and biography doesn’t matter that much in literary criticism anyway.

Well, at this “Shakespeare and the Problem of Biography” conference they continued to hold firm on having the right guy, but the whole notion that biography doesn’t matter came up in talk after talk, and, in my humble opinion, it is definitely under seige and may be on its way out. And that’s a big deal, especially if your guy (Stratman) has no real, factually-based biography to speak of (and this “problem” of having few facts was spoken of and commented on throughout the conference, almost like a confession). Several speakers did say quite openly and clearly that biography doesn’t matter (most notably Brian Cummings, University of York, in his opening talk, when he said, “Biography is not necessary for literary criticism” and “biography is not necessary to historicism”). The same line was echoed by Jack Lynch (Rutgers) the next day when he too said, “Biography is not necessary for literary criticism.” Yet Joseph Roach (Yale), in a short, powerful presentation that highlighted the power of Shakespeare’s words centuries after they were written, stated in his conclusion, “Shakespeare’s life is in his works.”

And that is the authorship dilemma in a nutshell: Biography doesn’t matter vs. the author’s life is in his works.

There is much more to say about some of the statements made in each of the separate talks, and I will return to that over the coming weeks (drawing on the many pages of notes I took down).

Authorship and authenticity

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If we find out that the Earl of Oxford wrote the plays we ascribe to Shakespeare, the plays won’t be any different, but people (not just English profs) really want to know the truth. This is a little odd, because we know so little about the historical Shakespeare that his biography can’t really affect our experience of the work much, but there are real insights to be gained about lots of art by knowing more about the artist and his milieu.

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Oh, no! More portraits.

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Side-by-side, here they are, two new Shakespeares ... maybe. (Image courtesy of Discovery News)

Side-by-side, here they are, two new Shakespeares … maybe. (Image courtesy of Discovery News)

In the last years of his life, William Shakespeare was an elegant gentleman who spent time at his Stratford residence, sitting on an elaborately carved chair in the company of a book and an adoring dog.

About two decades earlier, he was a relatively young man exuding self-confidence and proud smiles.

These powerful images emerge from two previously unknown portraits of Shakespeare, according to Hildegard Hammerschmidt-Hummel, a professor of English at Mainz University, Germany.

“I subjected the images to fundamental tests of identity and authenticity, and these revealed that we are dealing with true-to-life portraits of Shakespeare, one from his youth, the second from his old age,” Hammerschmidt-Hummel told Discovery News.

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Shakespeare and Creativity (from the Shakespeare Birthday Trust)

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“We’re delighted to be working with the University of Birmingham. There are two great Shakespeare libraries in Stratford. One of them is at the Shakespeare Institute and one of them is here and they complement each other very well. We have 55000 volumes relating to Shakespeare’s work, life and times, including about 1000 rare books which he would have seen for sale on Jacobean and Elizabethan bookstalls and which we know he used in order to write the plays. So we can show where Shakespeare came from, where his creativity came from, the material  he was engaged with. You might like to come and design an exhibition based on precious items in the collection. What stories might you tell about Stratford and Shakespeare? Might they become performances in some of the Shakespeare gardens?”

    • Two years ago I was approached by our colleagues and friends at The Shakespeare Institute: would The Shakespeare Birthplace Trust be interested in collaborating on a new MA Programme on Shakespeare and Creativity?
    • One module, for example, is called Shakespeare and Society. Each of the contributing organisations — which also include The Royal Shakespeare Company and Birmingham Public Library — are making available their collections and spaces and expertise as creative resources for the MA’s students. The Shakespeare Birthplace Trust is uniquely placed to open up its  own collections from which students might devise a performance piece, installation, exhibition, or — and perhaps most bravely of all — an expression of Civic Shakespeare in a prominent public place.
    • Hope you enjoy finding out more about ‘Shakespeare and Creativity’ by clicking on the link here and watching the video.

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The Tudor Heir in the Plays of Shakespeare

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The 13th Annual Summer Seminar at the Shakespeare Authorship Research Centre (August 18 to 23) will focus on the Tudor Heir in the Shakespeare plays, i.e. looking at the instances in selected plays where issues of succession may be more about the current times (i.e. Elizabethan) than the actual historical period that a play purports to be about.


Following is the notice recently sent out by the Centre with details about the seminar and how to sign up:

The 13th Annual

Shakespeare Authorship Research Centre Summer Seminar
August 18 – 23, 2013

The Tudor Heir in the Plays of Shakespeare

Seminar participants will study, amongst other works, Hamlet;
King Lear; Titus Andronicus; Troilus and Cressida; Henry the Fourth,
Parts One and Two; King John; A Midsummer Night’s Dream; The Winter’s
; and other works, as time allows

Seminar Leader: Prof. Daniel Wright, Ph.D.; Director, The
Shakespeare Authorship Research Centre at Concordia University, assisted
by James Daniel Gaynor, SARC intern and Assistant to the SARC Director

Location: The Michael B. Wray Seminar Room of the Shakespeare
Authorship Research Centre in the George R. White Library 2800 NE
Liberty Street, Portland, Oregon

Dates: August 18 – 23, 2013

Times: Sunday, 6:00pm – 8:00pm; Monday through Thursday 9:00 am – 4:00 pm; Friday 9:00 am – noon

Cost: $995 – includes Continental breakfast each day

Mr. Shakespeare’s Plays: G.K Chesterton Shakespeare

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    • “Under the listings of Shakespeare, the Internet abounds in essays, reviews, texts, and comments, almost anything one can imagine about his works and about works explaining his works. My Viking Edition of Shakespeare comes to 1,471 pages. I suspect that at least that number of pages of new materials about Shakespeare appears almost every month. In various universities, moreover, from here to India, we can find listed courses on “Shakespeare and . . . —You Name It.”
    • “I also found an essay informing me that Shakespeare was an “atheist,” while larger efforts were found devoted to the question of whether he was or was not a Catholic, or an Anglican, or a Puritan. Chesterton devoted several essays to the question of whether Shakespeare was in fact Francis Bacon, and if he was, what difference would it make? Some people think Shakespeare was neither himself nor Bacon. The leading candidate seems to be the Earl of Oxford, but all admit some mysteriousness about just who Shakespeare was if he was not Shakespeare, and even more if he was.”
    • “Mark Twain once wrote an essay entitled “Is Shakespeare Dead?”
    • “Twain himself did not think that Shakespeare could have written Shakespeare’s plays for the same reason that someone who had not worked a packet-boat on the Mississippi could not write accurately about what actually takes place on the water. “Shakespeare couldn’t have written Shakespeare’s words, for the reason that the man who wrote them was limitlessly familiar with the laws, and the law-courts, and law-proceedings, and lawyer-talk, and lawyer-ways—and if Shakespeare was possessed of the infinitely divided star-dust that constituted this vast wealth, HOW did he get it, and WHERE and WHEN?” The same argument can be applied to Shakespeare’s accurate knowledge of Italy, or the Bible, or the sea.”
    • “For Chesterton, Shakespeare was the sane man, Bacon the mad scientist:

      The truth is, I fear, that madness has a great advantage over sanity. Sanity is always careless. Madness is always careful. A lunatic might count all the railings along the front of Hyde Park; he might know the exact number of them, because he thought they were something else. A healthy man would not know the number of the railings, or perhaps even the shape of the railings; he would know nothing about them except the supreme, sublime, Platonic, and transcendent truth, that they were railings (CW, XXVII, 416).

      The point is that Shakespeare, as seen in his works, seems to be the sane one when it comes to that universal balance of knowing things that matter. This is the same sanity that Chesterton saw in Aquinas who affirmed, against all the doubters, that “eggs are eggs.”

    • “In the end, let it be said of all of us, “I do not profess to know much about Shakespeare outside such superfluous trifling, as reading his literary works.” “Mr. Shakespeare” is only “dead,” to use Twain’s word, if we do not read him, even if, or especially if, we may not know exactly who he was. On reading his literary works, what we do know is something about practically everything that is humanly important, and indeed, not a little of the supernatural.”

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New book reveals the real Shakespeare | Irish Examiner

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    • “His plays are renowned, but a new book unravels the mystery of the man, says Rita de Brun.”
    • “The man behind the plays has long been mysterious, but that’s changing, with the publication of 30 Great Myths about Shakespeare, a new book by Laurie Maguire and Emma Smith.”
    • “The intention was to evaluate the evidence that exists, illustrate how that has been interpreted or misinterpreted, and show what our conclusions as to the truth about Shakespeare reveal about our own personal investment in the stories we tell,” she says.”
    • “As to whether she got much insight into Shakespeare’s elusive personality while researching the book, Maguire shakes her head. “The personal papers, which might well have revealed so much of his personality, could not be scrutinised, as, after his death, they probably went to his favourite son-in-law. However, we do know that he wasn’t particularly philanthropic — legal documents show him lining the insides of his own pockets rather than giving to the poor,” she says.”
    • “As to his nature, we really don’t know much, but he’s unlikely to have been flamboyantly ostentatious, and he’s likely to have been the type who would sit in a corner, watch people, take notes and take stock.”

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Who Was This William Shakespeare?

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    • If you have students who have seen the film Anonymous, or who have delved into one of the thousands of books casting doubt on the authorship of the Shakespeare canon, you might like to be equipped to answer this question; my answer might surprise you.  After reading some of the best and most up-to-date scholarship on Shakespeare, I have come to this startling conclusion:  the plays commonly attributed to William Shakespeare of Stratford-upon-Avon, were actually written by William Shakespeare of Stratford-upon-Avon.  Shocking, right?  Well, you’d be surprised how many people (including some characters in my novel) disagree with me.
    • Bill Bryson, whose book is slim, readable, witty and perfect for high school students or even middle school students wanting to know more about Shakespeare, writes that “nearly all of the anti-Shakespeare sentiment — actually all of it, every bit — involves manipulative scholarship or sweeping misstatements of fact.”  This is another great learning opportunity for students.  We live in an age when, more than ever, students need to learn to evaluate the information they receive.  Showing students that information that has appeared in such venerated sources as the New York Times, History Today and Scientific American can still be based on “manipulative scholarship and sweeping misstatements of fact” can help open their eyes to the dangers of taking any information at face value without corroborating research.
    • Simply stated, the problem with the anti-Stratfordians is twofold.  First, after nearly two hundred years of challenging Shakespeare (following two hundred years during which no one, including those who knew him, challenged him), they have yet to present a single shred of solid evidence that someone else wrote Shakespeare’s plays.  Secondly, they have summarily ignored quite a few shreds of evidence that Shakespeare did in fact write his plays.

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