🚀 go-pugleaf

On Mar 13, 7:20 pm, lackpurity <lackpur...@yahoo.com> wrote:
>
> Farey can't even reach square one with his fantasies.  We're still
> waiting for him to prove that Marlowe didn't die at Deptford in 1593.
> I think it will take more than slanderous pigeonholing for his
> fantasies to gain much popularity.  We'll see how it goes.

It goes like this: reading the plays will bring us further.
Here is my interpretation of The Two Gentlemen of
Verona, followed by the one of Titus Andronicus:

If there is a subtext in the play The Two Gentlemen
of Verona, it may concern the relation between art
and power, Julia symbolizing art, Silvia power,
Proteus the poet and playwright, and Valentine
the one destined by virtue to exert power, Latin
valere meaning 'to be worthy, having value, virtue'
being present in the name Valentine. Proteus would
then symbolize de Vere. Homer tells us about
Proteus in book 4 of the Odyssey: an old man
(de Vere began writing tragedies at a relatively high
age), honest (the bard's motto pronounced in
sonnet 105 is "Fair, kind, and true," being true an
equivalent of being honest), of infallible lips (the
bards claims the same in the sonnets), he sees
and knows everything (and so does the playwright
in his god-like position as the creator of his plays),
he metamorphs into everything that walks on earth,
but also into water and divine blazing fire, becomes
a lion with a mane, a snake, a panther, liquid water,
a tree of a towering crown (while the playwright
can assume every guise in his plays), he knows
the depths of all seas (he knows the depths of the
human nature), his daughter is Eidothea, literally
the goddess of pictures (and the bard creates
living pictures on the illuminated stage), he knows
what happens in the palace (and de Vere knew
the court, having been raised in the care of the
queen),  good or bad (the achievements and
crimes of five-hundred years of history of the
empire). De Vere matches Valentine with Silvia,
and Proteus with Julia, not without pointing out
a temporary aberration of Proteus who was
seduced by power. De Vere elevates William
Shakespeare in the guise of valiant Paris into
the rank of a count. And the opening lines of
the gory first play Titus Andronicus pose the
question of who acceeds the throne directly.
Saturninus

  Plead my successive title with your swords
  I am his (the late emperor's) first-born son

Whereupon Bassianus

  And suffer not dishonour to approach
  Th' imperial seat, to virtue consecrate

My claim: Titus Andronicus might be an allegory
on five hundred years of British history, naming
injustices that were the consequence of unworthy
rulers who climbed the throne either by birth-right
or by the help of protection. In later plays de Vere
learned to convey his message in subtler and more
pleasing ways, but he could only do so after he had
made his point in all clarity.