SHAKESPEARE's LAW Except That, Judging from the Date of His Call to the Bar, I Gathered That He Is a Very
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Winter 2005 Who Wrote Fellowship’S 3Rd the Spanish Annual Meeting Tragedy? Held in Baltimore by C
Vol.4:no.2 "Let me not to the marriage of true minds admit impediments..." Winter 2005 Who wrote Fellowship’s 3rd The Spanish annual meeting Tragedy? held in Baltimore By C. V. Berney he Spanish Tragedy was one of the ixty members gathered most popular and important plays of in Baltimore, Mary- Tthe Elizabethan era. If you ask an Sland, in early October academic who wrote it, the reply will be for the third annual confer- “Thomas Kyd, of course,” and it will be ence of the Shakespeare Fel- given in a voice ringing with authority and lowship. The program was certitude. varied, with over 20 speak- But it may not be quite that simple. In ers, a debate, and several the- their introduction to the play, Brooke and atrical performances, includ- Paradise note that ing productions of Julius Caesar by the Baltimore The early editions of The Spanish Tragedy are all anonymous, and none of Shakespeare Festival, “De- the theatrical notices of the play mentions throning a Deity” by Michael Kyd. We owe our knowledge of his Dunn in the persona of authorship to Thomas Heywood, who Among the activities at the 3rd Annual Shakespeare Fellowship Charles Dickens, and Shake- Conference in Baltimore was the awards banquet, where special quotes three lines (IV.i.86-88) in his Speare, a show about Oxford Apology for Actors, 1612, with the words: recognition was bestowed on Dr. Gordon Cyr (left) for Lifetime “Therefore, M[aster] Kid, in his Spanish Achievement and Tom Regnier (right) for Scholarship. Outgoing as the bard, by Kinetic En- Tragedy, upon occasion thus presenting Fellowship President Alex McNeil (center) presented the awards. -
Vol. VI, No. 4 (1945, Oct.)
THE SHAKESPEARE FELLOWSHIP JAN 29 1946 SEATTLE, WASH INC.TON The Shakespeare Fellowship was founded i,, London in 1922 under the presidency of Sir George Greenwo94~. VOL. VI OCTOBER, 194.5 NO. 4 Oxford-Shakespeare Case Loses Brilliant Advocate Bernard Mordaunt Ward (1893-1945), Author of The Seventeenth Earl oJ Oxjord Friends and admirers of Captain Bernard M. searching out the original records at great pains and Ward will be saddened to learn of his death, which expense. He took as his guiding principle in the occurred quite suddenly at his home, Lemsford Cot accomplishment of this task the following text of Itage, Lemsford, Hertfordshire, England, on October Edmund Lodge in Illustrations of Br,tish History 2, 1945. (17911: Captain Ward's untimely demise--due to over• "For genuine illustration of history, biography exertion in the war-removes the last of a distin• and manners, we must chiefly rely on ancient orig guished family of British soldier-scholars. He was inal papers. To them we must return for the correc• one of the founders of The Shakespeare Fellowship tion of past errors; for a supply of future materials; in 1922, and for several years prior to his return to and for proof of what hath already been delivered the British Army in 1940, served as Honorary Sec unto us." retary of The Ft-llowship. As author of The Seven• In order to keep the size of his book within reason• teentk Earl o/ Oxford, the authoritative biography able bounds, Captain Ward did not attempt to in o( Edward de Vere, based upon contemporary doc· troduce detailed Shakespearean arguments into The uments, and published by John Murray of London Seventeenth Earl of Oxford, being content to leave in 1928, Captain Ward will always occupy the place to others the rewarding task of making apparent the of honor next to the late J. -
Fernando Pessoa: a Peripheral Shakespearean out of His Time
Vincenzo Russo Fernando Pessoa: A Peripheral Shakespearean out of his Time I was a poet animated by philosophy, not a philosopher with poetic faculties. I loved to admire the beauty of things, to trace in the imperceptible through the minute the poetic soul of the universe. he poetry of the earth is never dead. — Fernando Pessoa Traces of Portuguese Modernism he irst historical avant-garde of Portuguese literature may be easily iden- tiied from a chronological point of view. he blaze of avant-garde icono- clasm burned itself out in a little less than two years, as part of a modernist experience which, by contrast, was to continue in its various forms and recurrences at least until the Second World War. his period of the irst avant-garde falls between the publication dates of two short-lived but highly signiicant journals, Orpheu (1915) and Portugal Futurista (1917). he irst two issues of Orpheu – a third was on the brink of publication but was never printed for inancial reasons – came out in March and June of 1915 and, for all the critical complications involved, mark the beginning of Modernism in Portugal. In Fernando Pessoa’s words, Orpheu was the ‘sum and synthesis of all modern literary movements’ and was to prove capable of absorbing Europe’s disruptive literary aesthetic movements (Futurism, Cubism, Vorticism, Orphism) through a process which was not merely 192 Vincenzo Russo of imitation but transposition, as became a peripheral context such as Portugal: with a hallmark of originality which best represents the form, transitory perhaps, but also highly typical, of early Portuguese Modernism. -
The Other W.S., William Stanley, Sixth Earl of Derby
The Other W.S., William Stanley, Sixth Earl of Derby John Raithel n the following, I hope to provide a reasonable summary of the evidence I that I believe points to William Stan- ley, the sixth earl of Derby, as the author of the works generally attributed to Shake- speare. I do not intend, of course, to pre- sent all the material here, but do hope to give a reasonable history of the Derbyite conviction, and in so doing point to some of the sources, compilers, and interpreters of this information, and then bring it up to date with recent discoveries and publica- tions. Beginning with the referenced works, I believe the interested reader will find much to flesh-out the skeleton sketched here. There are good reasons for suspecting that the traditional assignation of the authorship of Shakespeare’s works is misplaced. These are based on statements made about the works at the time of their appearance, evidence concerning the traditional candidate, and inferences derived from the works themselves. There are also good reasons for suspecting the true author to be William Stanley, the sixth earl of Derby. Some of these, too, are based on statements made about the author of the works, and inferences derived from the works themselves. And some are based on evidence concerning William Stanley. None of the statements, evidence, or inferences is conclusive—for Stanley or anyone else—or there would be no controversy. The case for Derby is made by examining the available material and attempting to weight it appropriately, assigning, for example, less weight to inferences drawn from the plays by a Derbyite—where there must be a natural bias toward interpreting the evidence in support of Derby—and more weight to a contemporary’s comments about the author, or to modern research by a non-Derbyite scholar. -
The Oxfordian Volume 21 October 2019 ISSN 1521-3641 the OXFORDIAN Volume 21 2019
The Oxfordian Volume 21 October 2019 ISSN 1521-3641 The OXFORDIAN Volume 21 2019 The Oxfordian is the peer-reviewed journal of the Shakespeare Oxford Fellowship, a non-profit educational organization that conducts research and publication on the Early Modern period, William Shakespeare and the authorship of Shakespeare’s works. Founded in 1998, the journal offers research articles, essays and book reviews by academicians and independent scholars, and is published annually during the autumn. Writers interested in being published in The Oxfordian should review our publication guidelines at the Shakespeare Oxford Fellowship website: https://shakespeareoxfordfellowship.org/the-oxfordian/ Our postal mailing address is: The Shakespeare Oxford Fellowship PO Box 66083 Auburndale, MA 02466 USA Queries may be directed to the editor, Gary Goldstein, at [email protected] Back issues of The Oxfordian may be obtained by writing to: [email protected] 2 The OXFORDIAN Volume 21 2019 The OXFORDIAN Volume 21 2019 Acknowledgements Editorial Board Justin Borrow Ramon Jiménez Don Rubin James Boyd Vanessa Lops Richard Waugaman Charles Boynton Robert Meyers Bryan Wildenthal Lucinda S. Foulke Christopher Pannell Wally Hurst Tom Regnier Editor: Gary Goldstein Proofreading: James Boyd, Charles Boynton, Vanessa Lops, Alex McNeil and Tom Regnier. Graphics Design & Image Production: Lucinda S. Foulke Permission Acknowledgements Illustrations used in this issue are in the public domain, unless otherwise noted. The article by Gary Goldstein was first published by the online journal Critical Stages (critical-stages.org) as part of a special issue on the Shakespeare authorship question in Winter 2018 (CS 18), edited by Don Rubin. It is reprinted in The Oxfordian with the permission of Critical Stages Journal. -
1925-1926 Baconiana No 68-71
■ j- I Vol. XVIII. Third Series. Comprising March & Dec. 1925, April & Dec., 1926. BACONIANA 'A ^periodical ^Magazine 5 I ) ) I LONDON: 1 GAY & HANCOCK, Limited, I 12 AND 13, HENRIETTA ST., STRAND, W.C. I927 ► “ Therefore we shall make our judgment upon the things themselves as they give light one to another and, as we can, dig Truth out of the mine ' ’—Francis Bacon <%■ 1 % * - ■ ■ CONTENTS. MARCH, 1925. PAGE. The 364th Anniversary Dinner I Who was Shakespeare ? .. IO The Eternal Controversy about Shakespeare 15 Shakespeare’s ' 'Augmentations’'. 18 An Historical Sketch of Canonbury Tower. 26 Shakespeare—Bacon’s Happy Youthful Life 37 ' ‘Notions are the Soul of Words’ ’ 43 Cambridge University and Shakespeare 52 Reports of Meetings 55 Sir Thomas More Again .. 60 George Gascoigne 04 Book Notes, Notes, etc. .. 67 DECEMBER, 1925. Biographers of Bacon 73 Bacon the Expert on Religious Foundations 83 ' 'Composita Solvantur’ ’ .. 90 Notes on Anthony Bacon’s Passports of 1586 93 The Shadow of Bacon’s Mind 105 Who Wrote the “Shakespeare” play, Henry VIII? 117 Shakespeare and the Inns of Court 127 Book Notices 133 Correspondence .. 134 Notes and Notices 140 APRIL, 1926. Introduction to the Tercentenary Number .. 145 Introduction by Sir John A. Cockburn 147 The “Manes Verulamiani” (in Latin and English), with Notes 157 Bacon and Seats of Learning 203 Francis Bacon and Gray’s Inn 212 Bacon and the Drama 217 Bacon as a Poet.. 227 Bacon on Himself 230 Bacon’s Friends and Critics 237 Bacon in the Shadow 259 Bacon as a Cryptographer 267 Appendix 269 Pallas Athene .. 272 Book Notices, Notes, etc. -
Could Shakespeare Think Like a Lawyer? How Inheritance Law Issues in Hamlet May Shed Light on the Authorship Question
University of Miami Law Review Volume 57 Number 2 Article 4 1-1-2003 Could Shakespeare Think Like a Lawyer? How Inheritance Law Issues in Hamlet May Shed Light on the Authorship Question Thomas Regnier Follow this and additional works at: https://repository.law.miami.edu/umlr Recommended Citation Thomas Regnier, Could Shakespeare Think Like a Lawyer? How Inheritance Law Issues in Hamlet May Shed Light on the Authorship Question, 57 U. Miami L. Rev. 377 (2003) Available at: https://repository.law.miami.edu/umlr/vol57/iss2/4 This Article is brought to you for free and open access by the Journals at University of Miami School of Law Institutional Repository. It has been accepted for inclusion in University of Miami Law Review by an authorized editor of University of Miami School of Law Institutional Repository. For more information, please contact [email protected]. COMMENT Could Shakespeare Think Like a Lawyer? How Inheritance Law Issues in Hamlet May Shed Light on the Authorship Question Shakespeare couldn't have written Shakespeare's works, for the reason that the man who wrote them was limitlessly familiar with the laws, and the law-courts, and law-proceedings, and lawyer-talk, and lawyer-ways-and if Shakespeare was possessed of the infinitely- divided star-dust that constituted this vast wealth, how did he get it, and where, and when? . [A] man can't handle glibly and easily and comfortably and successfully the argot of a trade at which he has not personally served. He will make mistakes; he will not, and can- not, get the trade-phrasings precisely and exactly right; and the moment he departs, by even a shade, from a common trade-form, the reader who has served that trade will know the writer hasn't. -
Titus Andronicus, ’ Studies in English Literature 28 (1988) P
Titus Andronicus , the Psalms, and Edward de Vere’s Bible. Richard M. Waugaman dward de Vere marked 20 psalms in the Sternhold and E Hopkins Whole Book of Psalms (WBP) that was bound with his Geneva Bible. These 20 psalms are proving to be a treasure trove of hitherto undiscovered Shakespearean source material. A study of the influence of Psalms 6 and 65 on Titus Andronicus illustrates the significance of these psalms for our deeper understanding of Shakespeare’s texts. The marked psalms thus lend support to previous evidence that de Vere wrote the works of Shakespeare. Titus Andronicus has elicited increasing critical interest since it was finally admitted into the Shakespearean canon. E. Eugene Giddens has shown that this ostensibly pagan play alludes to the Book of Genesis in its ritual action—“I believe that the number of unusual events and themes occurring both in Titus and Genesis demonstrates a link, whether conscious or not on the author’s part, between them.” 1 I extend Giddens’s thesis by demonstrating dense allusions to Psalms 6 and 65 2 in Titus Andronicus. These allusions strengthen the claims of Giddens and other critics who have discerned biblical echoes in Titus Andronicus. At least two translations of the Psalms are echoed in Titus Andronicus —the Genevan, and the WBP. 3 The Geneva Bible is widely accepted as the translation that most influenced Shakespeare’s works. Richmond Noble thought most of Shakespeare’s allusions to the psalms were to the Coverdale translation, that was included in the Book of Common Prayer. 4 However, WBP was extremely popular in the Elizabethan era and beyond; it went through some 1,000 editions. -
Raport O Szekspirze
RAPORT O "SZEKSPIRZE" (rozdział I, II, III) Fragment większej całości przygotowywanej do publikacji SPIS TREŚCI OD AUTORA I SPÓR O AUTORSTWO DZIEŁ WILLIAMA SZEKSPIRA II KRÓTKA HISTORIA REWIZJONIZMU SZEKSPIROWSKIEGO III KIM BYŁ WILLIAM SZEKSPIR (SZAKSPER) ZE STRATFORDU IV AUTOPORTRET SZEKSPIRA ZAWARTY W JEGO DZIEŁACH V ZAGADKA SONETÓW VI WRONA ROBERTA GREENA, CZYLI SIŁA PRZED-SĄDU VII GRÓB I POMNIK W STRATFORDZIE JAKO DOWODY? VIII PIERWSZE WYDANIE DRAMATÓW WSZYSTKICH SZEKSPIRA (1623) – ELEMENTY LITERACKIEJ MISTYFIKACJI IX BYŁO PRETENDENTÓW WIELU X NAJPOWAŻNIEJSZY KANDYDAT - EDWARD DE VERE, HRABIA OXFORDU XI BURZA NA BERMUDACH XII SPISEK POLITYCZNY CZY SPISEK MILCZENIA? XIII NAUKOWE, KULTURALNE, IDEOLOGICZNE I POLITYCZNE SKUTKI 1 REWIZJONIZMU SZEKSPIROWSKIEGO BIBLIOGRAFIA 2 OD AUTORA Celem niniejszego raportu jest przedstawienie kontrowersji narosłych wokół autorstwa dzieł znanych na całym świecie jako dzieła Williama Szekspira. Impulsem do jego napisania było przekonanie, że kwestia autorstwa wykracza, i to dość daleko, poza wymiar czysto historyczno- literacki, sięgając w sferę szeroko pojmowanej kultury, ideologii i polityki. Ponieważ nie jestem anglistą (ukończyłem filologię polską i germańską), nie roszczę sobie jakichkolwiek pretensji do oryginalności, nie mam ambicji stawiania samodzielnych tez lub hipotez. Opieram się na rozległej literaturze przedmiotu, rozwijając jedynie tu i tam pewne myśli, pozwalając sobie tu i ówdzie na drobne komentarze i snując prognozy na temat skutków ewentualnego zdobycia większych wpływów przez rewizjonistów -
Mark Twain and George Greenwood on Shakespeare’S Knowledge of the Law
4. Mark Twain and George Greenwood on Shakespeare’s Knowledge of the Law 1909 ______________________________________________________________________________ Mark Twain was a true author-skeptic, declar- ing that while he knew for certain that Shake- speare of Stratford had not written the plays and poems ascribed to him, he merely be- lieved faute de mieux that Bacon was respon- sible. By the end he was as agnostic about Shakespeare as he was about God. “Who did write these Works, then? I wish I knew.” Is Shakespeare Dead? was published in 1909, independent of the autobiography from which it was extracted, suggesting that Twain attached especial importance to it. Couched in his familiar joshing style, full of jokes and personal anecdotes, his objectives remain, as always, profoundly serious.1 His references cut easily between his own experience as a man and literary professional and his evident familiarity with Shakespeare’s works and, just Mark Twain 1835-1910 as important, contemporary Shakespeare scho- larship. He was an individual alive in his time, when thinking people were beginning to notice gaps and anomalies in all manner of traditional explanations, including the familiar Bardic story. Whitman in particular intuited the truth: Conceiv'd out of the fullest heat and pulse of European feudalism—personifying in unparallell'd ways the mediaeval aristocracy, its towering spirit of ruthless and gigantic caste, with its own peculiar air of arro- gance (no mere imitation)—only one of the “wolfish earls” so plenteous in the plays themselves, or some born descendant and knower, might seem to be the true author of those amazing works—works in some respects greater than anything else in recorded literature.2 Twain had recently been struck by the work of the well-known anti-Stratfordian, Sir George Greenwood, M.P. -
Commémoration Du Ive Centenaire De La Naissance De Shakespeare
Commémoration du IVe centenaire de la naissance de Shakespeare Autor(en): Rapin, René Objekttyp: Article Zeitschrift: Études de Lettres : revue de la Faculté des lettres de l'Université de Lausanne Band (Jahr): 8 (1965) Heft 1 PDF erstellt am: 10.10.2021 Persistenter Link: http://doi.org/10.5169/seals-869826 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch COMMÉMORATION DU IVe CENTENAIRE DE LA NAISSANCE DE SHAKESPEARE Le quatrième centenaire de la naissance de Shakespeare a été célébré à Lausanne sous les auspices de la Société académique vau- doise, le 23 avril 1964, et à Neuchâtel, le 15 mai, sous les auspices de l'Université de Neuchâtel elle-même, avec la collaboration de MM. -
In Re Shakespeare. Beeching V. Greenwood
LIBRARY OF TIIK University of California. 9 3 2.^ Class Q- 'k] i:. In re SHAKESPEARE BEECHING V. GREENWOOD REJOINDER ON BEHALF OF THE DEFENDANT THE SHAKESPEARE PROBLEM RESTATED. By G. G. Greenwood, M. P. Demy 8vo. WILLIAM SHAKESPEARE: PLAYER, PLAYMAKER AND POET. A Reply to Mr. George Greenwood, M. P. By H. C. Beeching, D. Litt. , Canon of Westminster. Crown 8vo. In re SHAKESPEARE BEECHING V. GREENWOOD ^ REJOINDER ON BEHALF OF THE DEFENDANT BY G. G. GREENWOOD, M.P. AUTHOR OF "the SHAKESPEARE PROBLEM RESTATED*' Seeking the bubble reputation Even in the Canon's mouth. LONDON: JOHN LANE THE BODLEY HEAD NEW YORK : JOHN LANE COMPANY MCMIX WILLIAM BRENDON AND SON, LTD., PRINTERS, PLYMOUTH PREFACE November 25th, 1908, Canon Beech- ONing read a lengthy paper before the Royal Society of Literature by way of answer to my book, The Shakespeare Problem Restated, By the kindness of the Secre- tary to the Society, Dr. Percy Ames, I received an invitation to be present, and by the kindness of Lord Collins, who presided, I was allowed, at the conclusion of Canon Beeching's paper, to utter a few words, not indeed of reply—there was no time for that—but of protest against a misstate- ment and, as I conceived myself justified in call- ing it, a mere travesty of my arguments.^ The Canon has now published his paper, together with two lectures delivered by him at the Royal ^ " I think it was generally recognized," wrote a distinguished Fellow of the Society on November 28th, " that you were at a double disadvantage, having your arguments caricatured by an opponent and insufficient time for reply." To anticipate critics on the pounce let me say at once that I, of course, make no charge of conscious and deliberate misrepresentation.