Re-Posting No. 5 of 100 Reasons Why “Shake-speare” was Edward de Vere: The Earl, the Prince and the Pirates!

(Note: This reason to agree that Edward de Vere was the great author, originally published here on 10 March 2011, is now No. 11 and revised for inclusion in 100 Reasons Shake-speare was the Earl of Oxford, published in October 2016.)

When Professor James Shapiro of Columbia University came to the Epilogue of his book Contested Will, written to try to block the inevitable tide of doubt about the traditional identification of “Shakespeare,” he described his experience at a performance I gave of my one-man show Shake-speare’s Treason (based on my book The Monument) at Shakespeare’s Globe in London.

A Pirate in the 16th Centur

“It was a spellbinding performance,” he wrote, adding he “found it all both impressive and demoralizing” — because, of course, he wants you to think that any account of Oxford as Shakespeare must be pure fiction.  He went on: “I left the Globe wondering what mainstream biographers might say in response to Oxfordians who insist that Edward de Vere had a stronger claim to have written Hamlet and King Lear, since — unlike the glover’s son from Stratford — he had been captured by pirates and had three daughters.”

Okay, wait a minute, hold on!  You can’t take those pirates away from Oxford, just as you can’t erase the fact that the earl, like King Lear, had three daughters!  Let me put it this way.  If the glove maker’s son from Stratford had been stopped by pirates in real life, by now we’d have whole shelves filled with books with titles such as:

Trauma on the High Seas: How The Bard’s Capture by Pirates Affected His Writing Life & His Play about Hamlet …

Shakespeare’s Fateful Encounter With the Pirates: A Profound Turning Point in His Psyche and Work …

Shakespeare’s Pirate Complex: The Cause of His Tragic Phase?

Shakespeare & The Pirates: A Love-Hate Relationship?

Although this was just one event among many in Edward de Vere’s life that correspond in some way with what we find in the “Shakespeare” plays, Oxfordians have done little more than mention, in passing, its similarity to Hamlet’s experience.  It’s just one more example of something in Oxford’s life resembling what can be found in the plays. Does Shapiro think the earl’s capture and release by Dutch pirates in the English Channel should be a liability, in terms of evidence that he wrote Hamlet?  Does the professor want to twist it all around, turning a positive into a negative?

The episode in Hamlet comes from “Shakespeare” himself, as a writer, not from any of the play’s recognized sources, as Mark Anderson reports in his terrific Oxford biography “Shakespeare” By Another Name.  The pirates intercepted and boarded Oxford’s ship in 1576, as he was returning to England from his sixteen-month tour of France, Germany and (primarily) Italy.  They stripped the ship clean. “De Vere’s luggage was ransacked, and the pirates even took the clothes from the earl’s back,” Anderson writes.  The French ambassador reported that Oxford was “left naked, stripped to his shirt, treated miserably” and he might have lost his life “if he hadn’t been recognized by a Scotsman.”

A member of Oxford’s entourage, Nathaniel Baxter, recalled the pirate episode in a poem published in 1606, writing: “Naked we landed out of Italy/ Enthralled by pirates, men of no regard/ Horror and death assailed nobility” — and Hamlet writes to King Claudius about the encounter: “High and Mighty, you shall know I am set naked on your kingdom.”  (My emphases)

Do we suppose that same use of naked is just coincidental?

There’s an interesting debate over whether Hamlet had previously arranged his own brush with the pirates, so he could escape being murdered by Rosencrantz and Guildenstern as per the king’s orders.  In any case, the Prince of Denmark writes to Horatio: “Ere we were two days old at sea, a pirate of very warlike appointment gave us chase.  Finding ourselves too slow of sail, we put on a compelled valor, and in the grapple I boarded them.  On the instant they got clear of our ship, so I alone became their prisoner.  They have dealt with me like thieves of mercy, but they knew what they did; I am to do a good turn for them.”

The prince, like Oxford, had been bound for England; now he turns back to Denmark while Rosencrantz and Guildenstern “hold their course for England,” where, because Hamlet has craftily switched the written orders, they will be killed instead of him.

Professor Shapiro argues against any attempt to turn the Shakespeare plays into works of autobiography, but that’s a straw man he’s setting up in order to knock it down.  Of course Hamlet is not strict autobiography; no one ever claimed such a thing.  The real point, which Shapiro wants his readers to miss, is that the best novelists and dramatists tend to draw upon their personal experiences and then to transmute them, through imagination and skill, into fictional art forms.  It’s not a matter of having to choose between reality and invention; all great art is a blend of both.

Shapiro concedes that “we know almost nothing about [Shakspere’s] personal experiences” and, therefore, “those moments in his work which build upon what he may have felt remain invisible to us.”  Given this vacuum within the documented Stratfordian biography, he boldly declares that all attempts to link the life of “Shakespeare” with his works should hereby cease!  He means not only such attempts by Oxfordians but also by Stratfordians — especially the latter, since these efforts have always failed and will fail even more glaringly in the future, as the authorship question is brought increasingly into the open.

Oh – I almost forgot: Oxford was targeted by pirates in the Channel not once but twice, i.e., not only in 1576 but also in 1585, when he returned from Holland and his brief command [with Colonel John Norris] of 4,000 foot soldiers and 400 horse.  But after receiving a letter from Burghley that he’d been put in command of the Horse, he was summoned back home [to be replaced by Philip Sidney, who would die on the battlefield a year later]; and according to one report, a ship carrying Oxford’s “money, apparel, wine and venison” was “captured off Dunkirk by the Spaniards.” Among Oxford’s belongings captured by the Spaniards was the letter from Burghley telling him of the Horse command; and as Anderson notes, “Hamlet contains not only an encounter with pirates but also an analogous plot twist involving suborned letters at sea.”

So, professor, the pirates are here to stay.  They certainly aren’t proof that Oxford wrote the play, but I put them here as just another piece of evidence that “authorship” really does matter.

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One CommentLeave a comment

  1. I wonder if Mr. Shapiro would like the Hamlet name in the secret First Folio, with a Sickle symbol and number 17. Surely so.


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