Hank’s 100 Reasons Why Oxford was “Shakespeare” — The List To Date

THE LIST TO DATE:

Reason No. 1: Oxford, like Hamlet, brought plays to Court

Reason No. 2: Golding, Translator of Ovid, was Oxford’s Uncle

Reason No. 3: Oxford Promoted The Courtier, Model for Hamlet

Reason No. 4: Oxford Hailed “New Glory of Language” in Courtier Preface

Reason No. 5: Hamlet’s Brush with Pirates Reflects Oxford’s Encounter

Reason No. 6: Lyly Taught Shakespeare, but Oxford Taught Lyly

Reason No. 7: Oxford Wrote the First “Shakespearean” Sonnet of the Elizabethan Reign

Reason No. 8: Gabriel Harvey’s address to Oxford in 1578: “Thy Countenance Shakes a Spear!”

Reason No. 9: Oxford to Burghley: “I AM THAT I AM”; Shakespeare Sonnet 121: “I AM THAT I AM”

Reason No. 10: Oxford Commanded the English Publication of “Hamlet’s Book”

Reason No. 11 – Part One: The Earl’s Preface to “Cardanus Comforte” is Shakespearean!

Reason No. 11 – Part Two: His Words, Thoughts & Phrases Anticipate Shakespeare’s

Reason No. 11 – Part Three: And Here’s Some of the Extraordinary Evidence

Reason No. 12 – Part One: “Shakespeare” & Queen Elizabeth’s Men

Reason No. 12 – Part Two: Lord Oxford & the Queen’s Men

Reason No. 13 – “Shakespeare” Describes a Titian Painting of “Venus and Adonis” that Oxford, not Shakspere, would have seen in Venice

Reason No. 14 – The Famous “Precepts” of Lord Polonius & Lord Burghley

Reason No. 15 – Oxford’s Prominence in “The Arte of English Poesie” of 1589

Reason No. 16: Bertram in “All’s Well” is a Portrait of Young Oxford

Reason No 17: Oxford at Age 14 Witnessed an Event like the Pivotal Scene in “Hamlet”

Reason No. 18: Henry Peacham and the Hand of an Unseen Author Identified as De Vere

Reason No. 19: The Families of Oxford and Hamlet as Mirror Reflections 

Reason No. 20: Part One: The Nearly 30 Dedications of Books to Oxford 

Reason No. 20: Part Two – The Dedications Show Oxford’s Personal Involvement with the Writers

Reason No. 21: Jealousies and Suspicions Regarding His Wife: Anne Cecil in Desdemona and Ophelia 

Reason No. 22: Edward de Vere’s Geneva Bible and its Annotations in His Own Hand

Reason No. 23: Those “Haggards” That Fly From Man to Man

Reason No. 24: Shakespeare’s Deep Knowledge of Italy & Oxford’s Italian Travels

Reason No. 25: Oxford’s Grant of a Thousand Pounds Per Year in Wartime 

Reason No. 26: “L’Envoy to ‘Narcissus'” in 1595 and “One whose power floweth far … Tilting under Frieries”

Reason No. 27: Anthony Munday and his Long Association with Oxford and “Shakespeare”

Reason No. 28: Henry Wriothesley Earl of Southampton and his links to both “Shakespeasre” and Edward de Vere Earl of Oxford

Reason No. 29: The Fabric of Oxford’s Life is Woven into the Autobiographical Sonnets

Reason No. 30: Part One – Oxford’s Letters are Filled Throughout with Thoughts and Phrases Used in the Shakespeare Works 

Reason No. 30 – Part Two – His Response in “Shakespearean” Style to the St. Bartholomew’s Day Massacre in August 1572

Reason No. 31: “Timon of Athens” Mirrors Oxford’s Own Character, Life Experiences and Emotional Responses

Reason No. 32: “The Quality of Mercy” and Oxford’s view that “Nothing Adorns a King more than Justice.”

Reason No. 33:  The Earl of Oxford, like Shakespeare, had deep knowledge of France and of the French Language

Reason No. 34: The College of Writers at Fisher’s Folly, Oxford’s House, and the Book of Verses by Oxford and Shakespeare Transcribed by Anne Cornwallis, Daughter of the New Owner 

Reason No. 35 (Part One): The poet Thomas Watson and his Links between Edward de Vere and “Shakespeare”

Reason No. 35 (Part Two): The structure of Watson’s 1582 sonnet “century,” dedicated to Oxford, is duplicated in SHAKE-SPEARES SONNETS of 1609 

Reason No. 36: The “Bed-Trick” in Edward de Vere’s Life Story, whether Fact or Legend, and its Appearance in Four of Shakespeare’s Plays 

Reason No. 37 (Part One): Oxford’s Life in Music Explains the Enormous Breadth and Depth of Shakespeare’s Love & Knowledge of It – “Mark the Music!” 

Reason No. 37 (Part Two): Oxford Worked With and Patronized the Composer William Byrd 

Reason No. 37 (Part Three): Oxford Patronized the Composer John Farmer, Who Dedicated His Works to the Earl

Reason No. 38: Henry Peacham in “The Compleat Gentleman” of 1622 Lists Oxford at the Top of Elizabethan Poets but Neglects “Shakespeare” 

Reason No. 39 (Part One): Shakespeare’s Vast Medical Knowledge and Oxford’s Interest in Medicine and Access to Medical Information  

Reason No. 39 (Part Two): More of the Medical Mind of “Shakespeare” and Why Oxford, not Shakspere of Stratford,  is the Author

Reason No. 40: “A Midsummer Night’s Dream” and Its Origins in the Early 1580’s as a Comic Skit about Queen Elizabeth and the Duke of Alencon 

Reason No. 41: The Deep Familiarity of “Shakespeare” and Oxford with the Italian Commedia Dell’Arte

Reason No. 42: “Truth is Truth” — Oxford and “Shakespeare” Share the Same Commitment to Truth in the Same Words

Reason No. 43: Oxford and the Law: He had the Experience to Develop and Use the Legal Mind of “Shakespeare” 

Reason No. 44 (Part One):https://hankwhittemore.wordpress.com/?s=reason+44&submit=Search (Scroll down to the Post)

Reason No. 44 (Part Two): Oxford’s Poetry and “Shakespeare’s” Poetry Suggest a Common Source

Reason No. 45: Oxford’s Echo Poem and the Echo Verse in William Shake-speare’s “A Lover’s Complaint”

Reason No. 46: Edmund Spenser’s Lament in 1590 for “Our Pleasant Willy” Who Was “Dead of Late”

Reason No. 46 (Part Two): Additional Thoughts about “Our Pleasant Willy”

Reaspm No. 47: Spenser’s Rhyming Match in 1579 between “Willie” (Oxford) and “Perigot” (Philip Sidney)

Reason No. 48: The Many Characters Reflecting Queen Elizabeth in the Shakespeare Poems and Plays

Reason No. 49: The Many Characters Reflecting Edward de Vere in the Shakespeare Plays

Reason No. 50: Oxford was Court Impressario and Master Showman: The Mock Military Battle for the Queen in 1572

Reason No. 51: Oxford Had Gained All the Military Knowledge Exhibited by the “Shakespeare” Works  

Reason No. 52 (Part One): Oxford Stages a Dramatic Show for the Queen, Playing the Lead Role as “The Knight of the Tree of the Sunne”

Reason No. 52 (Part Two): Oxford’s Page Delivers a Shakespearean Oration to Elizabeth, Professing His Master’s Loyalty

Reason No. 53 (Part One): “The Phoenix and Turtle” of 1601 is Explained by Oxford’s Role as “Knight of the Tree of the Sunne” in 1581

Reason No. 53 (Part Two): The Royal Family Triangle at the Tiltyard (1581), in “The Phoenix and Turtle” (1601) and “Shake-speares Sonnets” (1609)

Reason No. 54: The Author as Gardener: Oxford Grew up in one of the World’s Most Famous Gardens

Reason No. 55: The Earl of Surrey, who introduced the Shakespearean sonnet form in England, was Oxford’s uncle

Reason No. 56: Richard Edwards, Master of the Children of the Royal Chapel, and links with the Young Edward de Vere in the 1560’s

Reason No. 57: Each of the Three Dedicatees of Shakespeare Works was Engaged to One of Oxford’s Three Daughters

Reason No. 58: Touchstone to William in “As You Like It” act one scene five: “You are not ‘ipse,’ for I am he!”

Reason No. 59: Prospero in “The Tempest” based on Dr. John Dee, the Conjurer, and also a self-portrait of Edward de Vere

Reason No. 60: If “Shakespeare” wrote the early play “Famous Victories of Henry the Fifth,” it must have been the young Edward de Vere

Reason No. 60 (Part Two): The Prince Tudor Aspect of “Famous Victories” and the Henry plays of Shakespeare

Reason No. 61: The Sea & Seamanship: Edward de Vere’s Life Explains Shakespeare’s Knowledge

Reason No. 62: Shakespeare’s Use of Heraldry and Heraldic Terms as an Inextricable Part of His Language

Reason No. 63: “A Never Writer to an Ever Reader”

Reason No. 63 (Part Two): Edward de Vere as “Ever or Never”

Reason No. 64: The Year of Oxford’s Recorded Death – 1604 – is a Pivotal Year in the “Shakespeare” Story

Reason No. 65: The Shakespeare Plays were Revised to Become Dramatic Literature

Reason No. 66 (Part One): Oxford was a Complete Man of the Theater – On the Record!

Reason No. 66 (Part Two): Oxford’s Life in the Theater

Reason No. 66 (Part Three): Connecting the Dots of Oxford’s Theatrical Life

Reason No. 67: John Bale’s Early Play of King John and the Earls of Oxford; also, the anonymous “Troublesome Reign” of King John

Reason No. 68 (Part One): “A Pleasant Conceit of Vere Earl of Oxford, Discontented at the Rising of a Mean Gentleman” etc. = Oxford and Christopher Hatton

Reason No. 68 (Part Two): Christopher Hatton and Malvolio of “Twelfth Night”

Reason No. 69: “Cymbeline” from an Oxfordian viewpoint, as an early work, finally makes sense

Reason No. 70: The Duke of Alencon in the Shakespeare plays

Reason No. 71: Alencon and Simier in The Two Gentlemen of Verona

Reason No. 72: Oxford and the Northwest Passage … the bond … the 3,000 pounds and the 3,000 ducats … Lock and Shylock

Reason No. 73 (Part One): “The Merchant of Venice” – Portia as Queen Elizabeth

Reason No. 73 (Part Two): Portia’s Belmont is a Real Place — the Villa Foscari

Reason No. 74: Oxford’s brother-in-law Lord Willoughby brought back report on “Hamlet’s Castle” in Denmark

Reason No. 75: The New Sophisticated Clown Robert Armin was a “servant” of Oxford when he was a “servant” of Shakespeare’s Company

Reason No. 76: Oxford, like Hamlet at the Court of Denmark, was the Most Amazing Jester at the Court of Elizabethan England

Reason No. 77: The Poet-Playwright George Chapman Knew that Oxford = Hamlet = Shakespeare

Reason No. 78: “A King of Infinite Space” – Oxford and Hamlet have the same point of view

Reason No. 79: Shakespearean “history” plays as mirrors (and instruments) of Elizabethan Tudor policy

Reason No. 80: A 1595 Reference to “Sweet Shakespeare” linked to “Our DeVere … A Secret” Discovered by Alexander Waugh

Reason No. 81: Allusions in “Twelfth Night” to the 1581 Interrogation and Torture of Jesuit priest Edmund Campion

Reason No. 82: Both “Shakespeare” and Oxford were Highly Educated in Greek – Demonstrated in the work of Dr. Earl Showerman

Reason No. 83: “Romeus and Juliet” of 1562, when Edward de Vere was Twelve, and Shakespeare’s “Romeo and Juiliet”

Reason No. 84: Oxford was Involved in the Revolutionary Expanding Universe of Astronomy as Indicated by “Shakespeare”

Reason No. 85: The Gad’s Hill Robbery: an Episode of Oxford’s Life Shows Up in “Henry the Fourth Part One”

Reason No. 86: The Darnley Murder of 1567, the Assassination of Coligny in 1572, and more — The Likelihood of Contemporary Sources of “Macbeth” in Oxford’s Experience between 1567 and 1589

Reason No. 87: Horses and Horsemanship: An Integral Part of “Shakespeare’s” Work and of Oxford’s Life Experience

Reason No. 88: Oxford’s Links to the Bard’s Printers and Publishers

Reason No. 89: “The Two Most Noble Henries” – Henry Wriothesley and Henry De Vere

Reason No. 90: Oxford’s Tutor Had the Only Manuscript of “Beowulf,” an Influence Upon “Hamlet”

Reason No. 91 (Part One): “The Winter’s Tale”

Reason No. 91 (Part Two): The Trial of Mary, Queen of Scots and the Trial of Queen Hermione

Reason No. 91 (Part Three): “The Stubborn Bear of Authority”

Reason No. 92: Given his anonymity, Oxford had “The Record of a Wasted Genius”

Reason No. 93: Oxford had “Knowledge of Power” that is exhibited in the Shakespeare works

Reason No. 94: Shakespeare’s “immediate predecessors” worked under Oxford’s patronage and guidance

Reason No. 95 (Part One): The Shadowy Figure of Christopher Marlowe

Reason No. 95 (Part Two): Christopher Marlowe, continued

Reason No. 95 (Part Three): Christopher Marlowe, continued

Reason No. 95 (Part Four): Christopher Marlowe, continued to conclusion

Reason No. 96: “Oxford was with Elizabeth before her Speech to the Troops at Tilbury on August 8, 1588”

Reason No. 97: A 1584 Play at Court Performed by Oxford’s Boys was the Early Version of “Troilus and Cressida”

Reason No. 98: Oxford is the Only One on Francis Meres’ List with No Surviving Plays

Reason No. 99 (Part One): The “Taming” Plays in which Oxford Reveals his Identity

Reason No. 99 (Part Two): The Tale of Two Shrews and How it Reveals the Dramatist’s Method

Reason No. 100: How the Oxfordian movement began by looking for a special kind of genius and finding the conditions fulfilled

No, Jim, You Can’t Take Away Those Pirates! – Reason No. 5 of 100 Why I Believe Oxford was “Shakespeare”

When James Shapiro 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 the Globe playhouse  in London.  “It was a spellbinding performance,” he wrote, adding that he “found it all both impressive and demoralizing” — because, of course, he wants you to think that any account of Edward de Vere, 17th Earl of Oxford as the author of Shake-speare’s Sonnets must be pure fiction.  And 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, Jim!  What exactly are you trying to say here?

A Warship of the 16th Century

A Warship of the 16th Century

No, no, you can’t take away those pirates, 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 glover’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?

Edward de Vere as Lord Great Chamberlain, carrying the Sword of State before Queen Elizabeth I of England

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 Oxford’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, 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.”

Model of an Elizabethan Galleon

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)

I 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 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.”  And given this vacuum within the documented Stratfordian biography, he boldly [and recklessly] 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 placed 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, according to the report, 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 my No. 5 of 100 reasons why I believe the earl was “Shakespeare” — and as just another piece of evidence that “authorship” really does matter.

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