🚀 go-pugleaf

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

Ending lines of sonnet 83:

  There lives more life in one of your fair eyes
  Than both of your poets can in praise devise.

The bard is complementing his Muse, the audience
personified in Juliet, while her poets are Edward de
Vere, author of the plays, and William Shakespeare,
director of the Globe and main performer, both creating
a play, bringing it to life, making it in the original sense
of Greek poieo poiesis poietes. However, as lively
a play might be, it never can compete with the life
in the eye of a young lady watching the play, observed
by the bard among the attending crowd, obliged to keep
his silence about the true authorship of those lines and
scenes that make the lovely young lady laugh and weep ...

  This silence for my sin you did impute

The audience and general public was not able to respect
the Earl of Oxford in the same way as they loved the plays
and poems and worshiped William Shakespeare in the
role of his life, as the Sweet Swan of Avon (Ben Jonson),
alleged author of those moving plays, intricate plots, and
easy, nimble, sweet and lively lines. William Shakespeare,
main actor of the Globe, must have been brillant in this role
he played for all his life, beyond the life of the bard, and
even beyond his own life. Paris in the play Romeo and
Juliet, alias of William Shakespeare, is called valiant,
a flower; in faith, a real flower. We may infer that he eagerly
adopted the plays and made them 'bloom' on the stage.
Yet when it comes to Romeo, Juliet uses the image of
a sweet smelling rose, flower of all flowers, placing the
playwright above the actor. By choosing the name of Paris,
Prince of Troy, for William Shakespeare, director of the
Globe, and by calling Juliet more beautiful than all other
girls of Verona including lively Helena, the bard evokes
the Trojan war caused by Paris abducting Helena. The
war lasted long, then it was decided by a ruse of wily
Odysseus hiding in the Trojan horse. The bard gives
his own version of Odysseus in the poem Lucrece:

  But the mild glance that sly Odysseus lent
  Show'd deep regard and smiling government.

This may be how Edward de Vere, sly and a master
hider himself, directed his own plays, attending probes
in the Globe, pretending to be a big fan of the bard and
knowing this one's mind better than William Shakespeare
himself, everybody thinking William the bard (de Vere's
Trojan horse, as it were), showing deep regard for the
questions raised by the play, for the actors as well,
encouraging them with mild glances and smiles when
they found the right way of presenting a scene, and thus
'directing' his play and 'governing' the Globe although
having been obliged to keep silent about the true
authorship of his plays --- a comic tragedy or tragic
comedy, as in a play by 'Shakespeare' one might say.