Shakesconspiracists! by Edward Pettit

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I thought you might like to see this guest-post by Edward Pettit, who has been leading his own authorship campaign and speaking up for Shakespeare of Stratford-upon-Avon….

photo by Kyle Cassidy

I had always been aware of the Shakespeare authorship conspiracy, but always felt it was such a weird little fringe movement that I needn’t pay it any mind. I’m not a professional Shakespeare a scholar, but I am deeply devoted to Shakespeare’s works and also a writer who publishes mainly on matters of literary history, so how an author’s works are received and read over time interests me. And I think literary history matters, as much as political history.

So when I heard about the Anonymous film, I thought it was high time I did something about it. It’s one thing to have a few crackpots with their pretend literary history talking only to themselves (I’m sorry, but the more experience I have with Shakesconspiracists, the sillier I find them). It’s quite another when a Hollywood studio releases a historical costume drama that will be seen by millions and send the message that there is an actual controversy or debate about Shakespearean authorship.

I began organizing talks at public libraries in and around Philadelphia, Pennsylvania. I even had a prominent Oxfordian agree to do an event at which we would square off, much like American Presidential candidates, in a no-holds-bar “debate”, with lots of press. Alas, the Oxfordian’s feet suddenly became very cold and he backed out before the first press release. I tried to find a replacement. The library tried. And a professional Shakespeare company in our area tried. But to no avail. Seems that Anonymous was not encouraging Oxfordians (nor any other Shakesconspiracists) to join the fray. Of course, after seeing the dreadful film, I’m not surprised.

I still had my talks at the local libraries and they were well attended (30 readers at one, 50 at another). At these talks, I give a little history of the Shakesconspiracy movement— why and when it started, the players— then I lay out the facts of Shakespeare’s authorship. I find when you lay out the facts, people usually can’t believe there’s even one conspiracist, let alone a movement.

But it’s the question and answer sessions after my lectures that really gratify me. At both of my events, the Q&A lasted as long as my lectures. These readers were engaged, had thought about this issue, and were not willing to be easily persuaded by conspiracists. And I think that’s how it is with any conspiracy movement at large. Those who are convinced want to be convinced, are waiting for someone to come along and tell them that vast forces are at work (and have been toiling for centuries) to deceive them. I can’t worry about that sub-section of the population, especially when I come across so many devoted readers who recognize Shakesconspiracy for what it is.

As long as there are Shakespeare scholars and literary historians and devoted readers who will take the time to explain to other readers that there is no controversy, no doubt about Shakespeare’s authorship of his works, then the Shakesconspiracy movement will remain on the fringes where it has always existed, convincing only those want to be convinced. For the rest of us, we can continue to read the plays and enrich our understanding with true literary history.

Edward Pettit is a writer, literary provocateur and president of the Oak Lane Shakespeare Club, founded in 1908 and dedicated to reading the works of Shakespeare aloud. Lately, he has been giving public lectures about Shakesconspiracies. You can read about his literary endeavours at http://www.edwardpettit.com/ and http://readingcharlesdickens.com

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Author:Paul Edmondson

Head of Research and Knowledge and Director of the Stratford-upon-Avon Poetry Festival for The Shakespeare Birthplace Trust. Follow Paul on Twitter @paul_edmondson
  • http://www.conceptfire-uk.com/products/hfc227ea-fm200-fe227/ fm-200

    My solution when I was a director would have been to punch anyone who
    sexually harassed any of my staff–but you do need a legal structure.
    Some of the wide boys and perverts I’ve known in business would have a
    field day without one. (kitchen + building industry)

  • Wjray

    He never said the early poetic epics were pirated.

    To explain why Meres did not support Shakspere as a writer, didn’t even know of him, read Robert Detobel’s Shakespeare the Concealed Poet. The dual naming of Oxford and Shakespeare was part of a puzzle, whose solution was that they were one and the same.  Sixteen ancients, seventeen, note that number, moderns. Oxford listed @ #1, Shakespeare #9. 1+9=10. Earl of Oxford’s initials=EO.  EO sounds the same as IO in Italian, for ‘I’, first person singular. 10=IO=EO=Earl of Oxford.  Simple puzzle, simple solution.  But you take it at face value, the opposite of its nature.  The knowing Elizabethan knew, the propagandized would not.

  • Wjray

    The Shakespeare listing didn’t print.  It was #9.  1+9=10, resembling IO, Italian for first person singular I and sounding out as ee’oo, Oxford’s initials, (E)arl of (O)xford.

  • Wjray

    It looks like #9 for Shakespeare’s place on the puzzle list was not printed.  Oxford listed #1, Shakespeare #9, totally 10 in Arabic notation, and resembling IO, the Italian for the sound ee’oo, or EO, Oxford’s initials.

  • Wjray

    In support of Mikael’s point about Meres, Shakespeare and Oxford were both listed for comedies, Oxford #1 and Shakespeare  This was a puzzle, in that the context was a comparison of ancient to modern (English) playwrights.  Sixteen ancients, SEVENTEEN moderns. Meaning, to the astute reader of puzzles, a pastime then, two of those named among the Engish seventeen were identical. Which two?  This was answered by Oxford’s initials, EO, which 10 resembles in script, because in Italian the sound ee’oo is written IO.  IO=EO.

    Thus what Mr. Sutton and others of the same persuasion consider incontrovertible evidence turns out to be a critical piece of evidence, intentionally embedded as ploy, for identifying the true ‘Shakespeare’.

    This puzzle was first deciphered by Robert Detobel in Shakespeare the Concealed Poet, and I contributed to the solution.

    Oxford embedded the IO=EO clue in his poetry, as a subtextual bit of blazonry. Other writers were familiar with the device, for instance Jonson in making the introductory poem to the First Folio of no more or less than TEN (10=IO) lines, as a covert indication of his subject.  The ‘poem’ is a Cardano Grille which when read in a 13×22 cross-word puzzle frame, reads E Vere in the fourth file, twice.

    Expecting here automatic, or should I say reflexive, denial of this discussion of incontrovertible evidence of the identity of ‘Shakespeare’.

    In conclusion, Mr. Sutton misread that Mikael wrote that V&A and Lucrece were pirated.  They weren’t. The Archbishop of Canterbury sponsored V&A through the process of publication in 1593 and Lucrece followed the next year. The pirating began with the plays, a new thing as literature. Oxford was able to stop-press six of them, not the others.
     

  • William Ray

    For Oxford’s letter in French Mysterious William Shakespeare, p. 441; for Trentham poem, SBAN, pp. 249-50

  • kjellgren

    Sorry cannot stand this software anymore, but I like your skepticism and open mind. Good combination for further studies. Good luck.

  • http://twitter.com/YLuvSh william sutton

    Thanks Kjellgren. You still haven’t answered the questions fully. But Chiljan’s book has been coming up a lot in defence of Oxford so I should check it out. I’m curious to see how she shifts the evidence scale. If it’s on a par with the rest of the Anti-studies then I doubt much will be revealed. But an open mind is open. No matter how much I might dislike the result.

    Reedy and Kathman’s How do we know Sh is Sh? is still the best explanation and the one that fits the evidence. You’re going have to do a lot better to convince me. And it’s not like I don’t want to be convinced. But proper evidence please.

    This summer I met Dave Kathman in London and he gave me some interesting articles about 16thC actor George Birche, a Tudor royal interluder and Thomas Parris who ran the Bull Inn in Bishopsgate street. Both given at SAA which you might or might not attend.

    Public theatre started from the ground up and was a totally different entity from Court theatre and the later Indoor theatre. The world of acting was much bigger than Oxford and the University wits. The whole era I find fascinating for the contrasts. And of how it affected what we in the west have become today as a result of that mind set.

    Oxford, even on a kind day, pushes all the wrong buttons with me. Marlovians confuse me. Read the two side by side and voila two styles as different as chalk and cheese, except when Sh copied Kit. Bacon too. Oxford not even close, even when he’s close.

    I’m curious about this french letter William Ray talked of seeing. Like the barnyard dog, i’ll run a stretch of the road with anyone. Brendon Behan.

    BTW the close readers as a rule commented on the text in relation to the arguments found in it and not who wrote it. They also did little pointy hands and underlined favourite passages. If you’ve never done so go to this link and read what a fellow Scot has written:
    http://shakes.meisei-u.ac.jp/e-first.html

  • kjellgren

    “if it’s that simple how come the close readers of the time missed it”

    Not Ray, but anyway…

    The simple answer is they didn’t, but you won’t find the records of it discussed in Stratford bios/novels. Chiljan in her book Shakespeare Suppressed discusses and lists 14 “overlooked commentary about Shakespeare by his contemporaries”, a subject well worth a study. And this does not include Willobie His Avisa, which has a chapter on its own.

    We have the portraits of the Stratford man in contemporary comedies as well as the portraits of him in the canon, all discussed at length by Chiljan.

    Her book is a great read actually.

    Best wishes,

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