🚀 go-pugleaf

> > One more message, for Melanie Sands who bravely
> > defends her beloved William Shakespeare
>
> > Paris, in the play Romeo and Juliet, is introduced as
>
> >   valiant Paris
>
> > offering the alliteration
>
> >   valiant William
>
> > William Shakespeare, director of the Globe and main
> > actor
>
> >   a flower; in faith, a real flower
>
> > In sonnet 83, addressing the Muse, Edward de Vere
> > speaks of
>
> >   both your poets
>
> > placing the actor on the same level as the playwright,
> > for both are making the play, in the sense of Greek
> > poieo poiesis poietes. From "valiant Paris" read as
> > valiant William we may infer that William Shakespeare
> > was a congenial director and actor, easily adopting
> > the plays and acting out all intentions. He also may have
> > stood the ground and ensured the performances under
> > the pressure mentioned in sonnet 66
>
> >   And Art made tongue-tied by authority
>
> > while other directors yielded to the pressure, consider
> > Peter Quince in the play A Midsummer Night's Dream,
> > the shape of the fruit evoked by his name suggesting
> > puffed cheeks and a small brain. Quince's actor Bottom,
> > in order not to freighten the ladies of the court among
> > the audience, and risking that all the actors be hung,
> > proposes to make his lion roar like a nightingale -
> > taking all strentgth out of the play, that is. Happened
> > also to de Vere's plays, but not when valiant William
> > was around. Paris, the prince of Troy, was rather
> > a coward, or, one may say, he understood how to keep
> > out of trouble, which may be a further characterization
> > of William Shakespeare - valiant by being gentle
>
> >   good gentle youth
>
> >   By heaven, I love thee better than myself
>
> > The cooperation between the two congenial collaborators
> > was far from being free of conflicts, however, the bard
> > confesses his sin - whatever the reason was that obliged
> > him to keep silent about his authorship in the plays -, and
> > de Vere solved the conflict in the way of the mild, gentle
> > and sly Ulysses in his poem Lucrece (as explained earlier).
> > The final and fatal conflict of the play must be a metaphor
> > on the rivalry between playwright and actor, won in the
> > end by the former whose lines live on while the equally
> > ingenious performing is forgotten when the actor passed
> > away. Paris provokes Romeo, this one shows him,
> > Paris dies, and Romeo exclaims
>
> >   Noble County Paris!
>
> > the Earl of Oxford elevating William Shakespeare of
> > humble origin into the rank of an earl or count
>
> >   I'll bury thee in a triumphant grave
>
> > namely in his work - the bard honors the actor, telling
> > us that valiant William, a real flower, a gentle youth,
> > his equal as poet in the original sense of the Greek
> > word, contributed as much to their common work as
> > he did himself, so that a next edition of the plays may
> > justly be called: The Complete Works of Edward de Vere
> > and William Shakespeare ... While conceiving and writing
> > a play, Edward de Vere may have had William on his
> > mind, and thus the play wrote itself on its own, carried,
> > and carried far, by the spirit of the young collaborator,
> > so that also William Shakespeare is present in the
> > written form of the plays, way beyond his playacting.
> > And Juliet? She symbolizes the audience that also
> > contributed to the plays, in the way explained earlier.
> > She is first mentioned in a call
>
> >   What, Juliet!
>
> > offering another pun
>
> >   Watch, Juliet!
>
> > Watching a play is what an audience does - listen and
> > watch.
>
> The serious play Romeo and Juliet was followed
> by a poetical farce, A Midsummer Night's Dream,
> where Romeo turned into jealous Oberon, and Juliet
> into proud Titania, king and queen of the fairies,
> Titania symbolizing the general audience that prefers
> popular plays of a mechanical sort Edward de Vere
> apparently despised, and so he gives a parody of
> that sort of playwrighting and acting: the mechanicals
> Peter Quince and his actors stage a classical tragedy,
> interfere unknowingly with the fairies, turn things upside
> down, doing harm and well at the same time, bringing
> one true couple of lovers apart, another together,
> and, to the big delight of Oberon, his wife Titania falls
> in love with an ass, Peter Qunice's main actor Bottom
> wearing the head of an ass, of which Titania will soon
> be ashamed and return to her husband Oberon, as
> audience personified realizing that those popular
> mechanical plays are not the real thing. Edward de
> Vere gives the audience a pedagogical lesson in form
> of a funny, highly poetical and phantastic play, without
> any pedagogy at all.


A fable

Young Edward de Vere, in care of Queen Elizabeth
at her court, fell madly in love with a beautiful young
girl, the queen's new maid of honor, and finally
summoned the courage to write her a poem:
From my lips ..., and she, a saucy girl, replied:
Back to thyne ... More poems were exchanged,
a meeting in the queen's orchard was arranged,
and a secret night in the maiden's chamber spent
- alas, the queen found one of the poems, the one
wherein Edward asked her maid of honor to marry
him, she would make him feel like a king, and would
become his queen, for isn't Elizabeth herself the
daughter of a maid of honor, Ann Bullen Anne Boleyn?
The queen got angry and ordered the impertinent son
of the late Earl of Oxford to an audience, telling him:
Young Edward, I have enough of your transgressions
at my court, now you are even seducing my maid of
honor, I really can't stand your behaving anymore,
the poor girl will be sent away, and you will never
again offend my court, neither in spoken nor in
written words ... The two birds were separated,
Edward lost his first big love who had awoken
his poetical vein and been his first audience. Later
on, when he began writing serious plays that mirrored
life at the court in one way or another, he seeked
permission from the queen to publish them under
his own name, reminding her that she was now
a beloved authority, secure in her position, but she
was adamant: Never, Earl of Oxford! Publish under
a pseudonym, put a safe distance between your
plays and my court. You are working together with
a hopeful and promising young actor from the
countryside, well, ask him to play the author of
your plays, hide behind him, and I shall grant you
both an annuity of one thousand pounds each
for your discretion, a most generous offer
considering all your many transgressions already
as a stud in my care ... Edward accepted, William
Shakespeare from Stratford on Avon acted as
author of Edward's plays, and the queen kept her
promise but also tabs on him via her spies at
the Globe. The poet and playwright hid behind
his valiant friend who gathered all the fame now.
Edward had never forgotten the queen's maid
of honor, his first big love, and found her sweet
memory revived in many a young lady among
the audience watching his plays unfold on the
stage, and when he observed them his mind flew,
words arranging themselves to lively, nimble and
easy lines, weaving a memorial to a young love
that had to end all too early - the memorial of
his amazing plays and poems, written between
1590 and 1604, some of them published
posthumously, for example the sonnets whom
the publisher devoted to the memory of
OVR EVER-LIVING POET.