🚀 go-pugleaf

On Mar 3, 12:05 am, "ranjit_math...@yahoo.com"
<ranjit_math...@yahoo.com> wrote:
>
> Ah, so the cottage was occupied not by Shakespeare but by another gent
> of the same name, eh? Ha ha.

The cottage was occupied by William Shakespeare,
director of the Globe and main actor who excelled in
the role of his life and still does, far beyond his life
on earth, namely in the role of the bard who wrote
all those amazing plays and poems, while the actual
bard and poet and playwright was Edward de Vere,
Earl of Oxford, who once lived on Avon street, by
the way. Here a short version of my interpretation:

  O, where is Romeo?     O, Vere is Romeo!

  Romeo  --  Edward de Vere, playwright

  Juliet  --  audience personified, Muse

  Paris  --  William Shakespeare of the Globe

Shakespeare acting as bard, in the role of his life,
de Vere hiding behind him, out of whatever reason.

Yes, William Shakespeare was a real human being,
he had a wife, and he lived in a cottage, and now,
with the new connection of Edward de Vere and
Romeo, we finally can get some real information
about the former half-god in the clouds: William
Shakespeare eagerly adopted the bard's plays
and made them bloom on the stage, so that the bard
praised him as "valiant" and "a flower; in faith, a real
flower." Moreover a false accusation dissolves,
the one that says the bard lived in a threesome,
inspired by sonnet 83, where a lady of two poets
is addressed: this lady is the Muse, and her two poets
are de Vere, playwright, and Shakespeare, director
of the Globe and main actor, both of them 'making'
the play in the sense of Greek poieo poiesis poietes,
wooing the same lady, the audience personified,
Juliet in the play, and this only on one level of a play
of many levels, namely the level of the bard reflecting
on his fate as poet ...

Until last week I believed in the bard from Stratford
on Avon, as almost everybody does, loving the language
but understanding little, the plays and poems being
crammed full of remarks that elude me completely, so last
week I tried a new approach, de Vere, first reading Hamlet,
then Romeo and Juliet, and bingo, there is a pun easily
plucked the first time Romeo is mentioned. This happened
last Friday, not yet one week ago, and already it makes
the play resound. It's this what I expect from a good theory
of literature: to make the obscure passages of a work
speak again.