🚀 go-pugleaf

On Mar 1, 5:58 am, Franz Gnaedinger <f...@bluemail.ch> wrote:
> > > Proof that 'Shakespeare' was Edward de Vere, Earl of Oxford
>
> > > Romeo, in the play Romeo and Juliet, is mentioned
> > > for the first time in a question
>
> > >   O, where is Romeo?
>
> > > a question offering a pun
>
> > >   O, Vere is Romeo!
>
> > > a pun providing an answer
>
> > >   de Vere, Oxford
>
> > > Edward de Vere, Earl of Oxford who signed his early
> > > works EO as in Romeo romEO, the pronounced English
> > > initials E and O resembling Italian io meaning I, it's me.
> > > The bard mentioned that his name is bound by one letter,
> > > which is true for the name, the pun, and the answer
>
> > >   Edward de Vere     E...e     12 letters  (name)
>
> > >   O, Vere is Romeo     O...o     12 letters  (pun)
>
> > >   de Vere, Oxford     d...d     12 letters  (answer)
>
> > > whereby the binding letters of the name E and pun O
> > > yield the initials of the title
>
> > >   Earl of Oxford     12 letters  (title)
>
> > > Name, pun, answer and title contain 12 letters each,
> > > accordingly Juliet in the orchard is awaiting Romeo's
> > > message at twelve.
>
> > > On a veiled level of the play, Romeo would symbolize
> > > the playwright who was bound to hold back his name
> > > and conceal his authorship; Juliet would symbolize
> > > the adoring audience, rapt public, and loving Muse
> > > who make the poetical torch burn bright; and Paris,
> > > who claimed Juliet for his wife, beautiful Juliet, more
> > > beautiful than all other girls of Verona including lively
> > > Helena - Paris would symbolize William Shakespeare
> > > from Statford on Avon who might secretly have been
> > > given a modest but lifelong pension for pretending
> > > to be the author of those plays and poems, granted
> > > by de Vere's relationship, out of whatever sad reason,
> > > so that a personal tragedy would underly the tragic
> > > love story of the play and make it only the deeper:
>
> > >   For never was a story of more woe
> > >   Than this of Juliet and Romeo.
>
> > > The last lines end on oe and eo respectively, eo
> > > EO Earl of Oxford, so the bard signed his play,
> > > if ever so clandestinely, and although Juliet had
> > > argued most reasonably and beautifully:
>
> > >   What's a name! that which we call a rose
> > >   By any other name would smell as sweet;
> > >   So Romeo would, were he not Romeo call'd,
> > >   Retain that dear perfection which he owes
> > >   Without that title:--Romeo, doff thy name;
> > >   And for that name, which is no part of thee,
> > >   Take all myself.
>
> > > The bard's name doesn't count, important are
> > > his plays and poems, and the public loves them,
> > > is all for him to take.
>
> > > Franz Gnaedinger, Zuerich, February 28, 2010
>
> > In the play 'Romeo and Juliet' a quarrelsome character
> > by the name of Tybalt seeks trouble, draws against
> > Romeo's friend Mercutio, this one also draws, a sword
> > fight ensues, Romeo intervenes, but in vain, he makes
> > it only worse, Mercutio falls, whereupon Romeo takes
> > revenge by killing Tybalt for having murdered his good
> > and funny friend. Romeo was not guilty under Verona's
> > law, however, his deed prolonged the feud that came
> > only to an end with the tragic double death of the 'star-
> > crossed' young couple. Edward de Vere, as a young
> > man, probably of Romeo's age, inadvertently killed
> > an inebriated seventeen-year-old by the name of
> > Thomas Brincknel. The judges considered his death
> > a suicide and spoke Edward free. The initials of the
> > young man who had died, T and B, return as the first
> > letters of the syllables Ty and Balt, insinuating further
> > parallels between life and play. Edward was declared
> > not being guilty, however, the fatal incident, perhaps
> > on top of other events, could have been a reason
> > for the strict obligation to hide behind a hired living
> > pseudonym (which he learned to accept in a playful
> > manner, calling himself Will personified, William,
> > Will I am, I am Will). While William Shakespeare
> > on the stage was applauded, Edward de Vere
> > attended his own play among the audience,
> > watching the onlookers, how they reacted to the
> > fancies of his mind, how the lovely young ladies
> > by his side laughed and weeped as his cunningly
> > crafted plot unfolded on the stage ... Reading
> > the sonnets I come to the conclusion that he
> > loved attending his own plays, and his observing
> > the reactions of the audience from close up would
> > explain the amazing psychological realism of his
> > plays, while his way of developing an act may be
> > gleaned from Hamlet who added a couple of lines
> > to a play and planned to observe the king for every
> > faint, obscured and concealed reaction. Romeo
> > the bard, Juliet his audience and beloved Muse.
> > When Edward de Vere was of Romeo's age he
> > may have found a real Muse among a crowded
> > audience, Romeo his Juliet, as it were, a young
> > lady who turned his rhiming into glorious poetry.
> > Act 1 Scene 5, Romeo speaking:
>
> >   O, she doeth teach the torches to burn bright!
> >   Her beauty hangs upon the cheek of night
> >   Like a rich jewel in an Ethiop's ear;
> >   Beauty too rich for use, for earth too dear!
> >   So shows a snowy dove trooping with crows,
> >   As yonder lady o'er her fellows shows.
> >   The measure done, I'll watch her place of stand,
> >   And, touching hers, make blessed my rude hand.
> >   Did my heart love till now? forswear it, sight!
> >   For I never saw true beauty till this night.
>
> > The veiled metaphorical tale of the bard's awakening
> > heightens the love story.
>
> PeterFarey, himself supporting the Marlowe-
> Shakespeare connection, gave me a fine advice:
> to look out for combinations of Romeo and will.
> The first such instance occurs at a signifcant place,
> following Juliet's plea that Romeo doff his name
> and instead take all of her, whereupon Romeo:

Why would Romeo have anything to do with the authorship?

>   I take thee at thy word;
>   Call me but love, and I'll be new baptized;
>   Henceforth I never will be Romeo.

Both de Vere and Shakespeare were mystics, so this has no bearing on
the authorship.

> In other words: I, Edward de Vere, Earl of Oxford,
> cease being EO romEO Romeo, instead I'll be
> new baptized in the name of thy love, my 'nome
> de plume' will be Will, William Shakespeare, hired
> living pseudonym who shall claim to have written
> my plays and poems. I shall publish my works
> under his name, he will get all the fame - if only
> I can have your love, if only you keep word of
> loving me and being all mine, dear Juliet, Muse,
> audience

This appears to be fantasizing.  Baptism doesn't necessarily imply a
massive coverup.

>   Will will fulfil the treasure of thy love
>
> (sonnet 136), as 'William Shakespeare' I will fulfil
> the promise of my work on the wings of your love,
> dear Juliet, inspiring Muse, beloved audience, as
> 'William Shakespeare' I will fill your heart with sweet
> poetry, all the best I can muster as Master William
> Shakespeare (while hiding my true identity from
> now on, and only give a few well concealed hints
> to the ones who can read between my lines).- Hide quoted text -
>
> - Show quoted text -

There was no massive coverup except in the fertile imaginations of
some Anti-Strats.  Groatsworth of Wit mentions Shakescene not the Earl
of Oxford, nor Eddie de Vere.

Michael Martin