🚀 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.