1) This document discusses the ongoing debate around William Shakespeare's authorship of the plays and poems traditionally attributed to him. It presents arguments from skeptics who believe other candidates may have written the works, as well as evidence in support of Shakespeare's authorship from publications, references to him as a playwright, and more.
2) Skeptics argue for candidates like Edward de Vere, Francis Bacon, and Christopher Marlowe. Supporters cite extensive publication evidence for Shakespeare as well as his knowledge of theater and references to him as a playwright during his lifetime.
3) The debate is an ongoing cultural phenomenon, with some seeing anti-Stratfordian arguments as legitimate academic inquiry and others viewing it
Did Shakespeare Write Shakespeare? Two of my classmates and I worked together to present this presentation on the authenticity of Shakespeare\'s authorship for a college course project.
Did Shakespeare Write Shakespeare? Two of my classmates and I worked together to present this presentation on the authenticity of Shakespeare\'s authorship for a college course project.
Sir Philip Sidney (30 November 1554 – 17 October 1586) was an English poet, courtier, scholar, and soldier, who is remembered as one of the most prominent figures of the Elizabethan age. His works include Astrophel and Stella, The Defence of Poesy (also known as The Defence of Poetry or An Apology for Poetry), and The Countess of Pembroke's Arcadia.
His artistic contacts were more peaceful and more significant for his lasting fame. During his absence from court, he wrote Astrophel and Stella and the first draft of The Arcadia and The Defence of Poesy. Somewhat earlier, he had met Edmund Spenser, who dedicated The Shepheardes Calender to him. Other literary contacts included membership, along with his friends and fellow poets Fulke Greville, Edward Dyer, Edmund Spenser and Gabriel Harvey, of the (possibly fictitious) 'Areopagus', a humanist endeavour to classicise English verse.
Both through his family heritage and his personal experience (he was in Walsingham's house in Paris during the St. Bartholomew's Day Massacre), Sidney was a keenly militant Protestant. In the 1570s, he had persuaded John Casimir to consider proposals for a united Protestant effort against the Roman Catholic Church and Spain. In the early 1580s, he argued unsuccessfully for an assault on Spain itself. Promoted General of Horse in 1583,[1] his enthusiasm for the Protestant struggle was given a free rein when he was appointed governor of Flushing in the Netherlands in 1585. In the Netherlands, he consistently urged boldness on his superior, his uncle the Earl of Leicester. He conducted a successful raid on Spanish forces near Axel in July, 1586.
An early biography of Sidney was written by his friend and schoolfellow, Fulke Greville. While Sidney was traditionally depicted as a staunch and unwavering Protestant, recent biographers such as Katherine Duncan-Jones have suggested that his religious loyalties were more ambiguous. He was known to be friendly and sympathetic towards individual Catholics.
An Apology for Poetry(also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage.
Work and war by john ruskin presentationSabraAhmad1
He was the master of English prose writing and a leading English art critic of the Victorian era, also an art patron, draughtsman, a prominent social thinker, and philanthropist.
Sir Philip Sidney (30 November 1554 – 17 October 1586) was an English poet, courtier, scholar, and soldier, who is remembered as one of the most prominent figures of the Elizabethan age. His works include Astrophel and Stella, The Defence of Poesy (also known as The Defence of Poetry or An Apology for Poetry), and The Countess of Pembroke's Arcadia.
His artistic contacts were more peaceful and more significant for his lasting fame. During his absence from court, he wrote Astrophel and Stella and the first draft of The Arcadia and The Defence of Poesy. Somewhat earlier, he had met Edmund Spenser, who dedicated The Shepheardes Calender to him. Other literary contacts included membership, along with his friends and fellow poets Fulke Greville, Edward Dyer, Edmund Spenser and Gabriel Harvey, of the (possibly fictitious) 'Areopagus', a humanist endeavour to classicise English verse.
Both through his family heritage and his personal experience (he was in Walsingham's house in Paris during the St. Bartholomew's Day Massacre), Sidney was a keenly militant Protestant. In the 1570s, he had persuaded John Casimir to consider proposals for a united Protestant effort against the Roman Catholic Church and Spain. In the early 1580s, he argued unsuccessfully for an assault on Spain itself. Promoted General of Horse in 1583,[1] his enthusiasm for the Protestant struggle was given a free rein when he was appointed governor of Flushing in the Netherlands in 1585. In the Netherlands, he consistently urged boldness on his superior, his uncle the Earl of Leicester. He conducted a successful raid on Spanish forces near Axel in July, 1586.
An early biography of Sidney was written by his friend and schoolfellow, Fulke Greville. While Sidney was traditionally depicted as a staunch and unwavering Protestant, recent biographers such as Katherine Duncan-Jones have suggested that his religious loyalties were more ambiguous. He was known to be friendly and sympathetic towards individual Catholics.
An Apology for Poetry(also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage.
Work and war by john ruskin presentationSabraAhmad1
He was the master of English prose writing and a leading English art critic of the Victorian era, also an art patron, draughtsman, a prominent social thinker, and philanthropist.
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Shakespeare Essay example
Shakespeare
Who was Shakespeare? Was he a man from Stratford Upon Avon who started with little and became the greatest English author to ever live; or was he a privileged Earl who was a favorite at Queen Elizabeth s court? That is the great mystery. This particular mystery is difficult to solve because of the lack of documentary evidence. The Elizabethans did not believe in getting everything in writing as people do today. Therefore, the truth may never be known with certainty. However, evidence does exist to support at least two theories about the Shakespearean authorship: one that the man from Stratford wrote the works, the other that Edward de Vere the Earl of Oxford was the author. The question then becomes, which...show more content...He then searched for a man of the same time period who met these criteria (Ogburn). The characteristics that come up again and again in the debates include: the author s education and knowledge of the Classics, law, and Italy; and the documents and poems of the time that have survived.
The most controversial and subjective argument stems from the apparent wealth of knowledge possessed by the Shakespearean author. Throughout the plays and sonnets, he makes numerous classical allusions. Oxfordians claim that the Shakespeare from Stratford (usually referred to as Shakspere in the debates) could not have possessed the necessary knowledge to draw upon these sources. Tom Bethell, another noted Oxfordian, writes that Shakspere is not known to have attended Stratford grammar school ... [and] if he was a pupil, he probably was not one for long (Bethell). However, respected Stratfordian Irvin Matus argues
I would like to take this opportunity to express my sincere gratitude to all who made me to complete this project successfully through their guideline, help and support.
First in a series - the blobs do Macbeth - I have been told if you download this the animations will work - but actually they don't for me - but do please try if you would like the see the full effect
9. Part One: Sceptics
- ‘The Unreadable Delia Bacon’ by Graham Holderness
- ‘The Case for Bacon’ by Alan Stewart
- ‘The Case for Marlowe’ by Charles Nicholl
- ‘The life and theatrical interests of Edward de Vere, 17th
Earl of Oxford’
- ‘The Unusual Suspects’ by Matt Kubus
10. ‘The Unreadable Delia Bacon’
Collaborative authorship, a ‘school’, led
by Sir Walter Ralegh.
Style difficult to read; hypothesis never
actually proven (and unprovable); more
like Gothic fiction...
Book The Philosophy of Shakespeare’s
Plays, 1857.
11. Delia Bacon
‘The brave, bold genius of Raleigh flashed new life into that little nucleus of
the Elizabethan development. The new 'Round Table,' which that newly-
beginning age of chivalry, with its new weapons and devices, and its new
and more heroic adventure had created, was not yet 'full' till he came in.
The Round Table grew rounder with this knight's presence. Over those
dainty stores of the classic ages, over those quaint memorials of the elder
chivalry, that were spread out on it, over the dead letter of the past, the
brave Atlantic breeze came in, the breath of the great future blew, when the
turn came for this knight's adventure; whether opened in the prose of its
statistics, or set to its native music in the mystic melodies of the bard who
was there to sing it.’ p. 42
13. Who else?
Roger Manners, 5th
Earl
of Rutland
Queen Elizabeth I Ben Jonson
Edward De Vere, 17th
Earl of Oxford
Sir Walter Raleigh Lady Mary Sidney
William Stanley, 6th
Earl of Derby
Sir Henry Neville
Daniel Defoe
14. ‘Mathematically, each time an additional candidate
is suggested, the probability decreases that any given
name is the true author.’
Matt Kubus, ‘The Unusual Suspects’.
15.
16. Part Two: Shakespeare as Author
‘Theorizing Shakespeare’s Authorship’ by Andrew Hadfield
‘Allusions to Shakespeare to 1642’ by Stanley Wells
‘Shakespeare as collaborator’ by John Jowett
‘Authorship and the evidence of stylometrics’ by Macdonald P. Jackson
‘What does textual evidence reveal about the author?’ by James Mardock and
Eric Rasmussen
‘Shakespeare and Warwickshire’ by David Kathman
‘Shakespeare and School’ by Carol Chillington Rutter
‘Shakespeare Tells Lies’ by Barbara Everett
19. Publication Evidence
Venus and Adonis (dedication 1593
and the 15 reprints up to 1636)
Lucrece (dedication 1594 and the 7
reprints up to 1632)
Henry VI Part 2 (Q3 1619)
Richard II (Q2 1598, Q3 1598, Q4
1608, Q5 1615)
Richard III (Q2 1598, Q3 1602, Q4
1605, Q5 1612, Q6 1622)
Love’s Labour’s Lost (Q1 1598)
Henry IV Part 1 (Q2 1599, Q3 1604,
Q4 1608, Q5 1613)
A Midsummer Night's Dream (Q1
1600, Q2 1619)
The Merchant of Venice (Q1 1600, Q2
1619)
Henry IV Part 2 (Q1 1600 )
Much Ado About Nothing (Q1 1600)
The Merry Wives of Windsor (Q1
1602, Q2 1619)
Hamlet (Q1 1603, Q2 1604)
King Lear (Q1 1608, Q2 1619)
Shakespeares Sonnets (Q1 1609)
Pericles (Q1 1609, Q2 1609, Q3 1611,
Q4 1619)
Troilus and Cressida (Q1 1609)
20. ‘Shakespeare and School’
‘The ‘ Kyng’s newe Scole’ was not exceptional. It was part of the Tudors’
post-Reformation expansion and reformation of the education system: a
project so comprehensive that by 1660 only in two counties of England
would a boy have lived further than twelve miles from a free grammar
school. Ben Jonson was a grammar school boy. So, I believe, was William
Shakespeare. And if the educational system that produced England’s
greatest theologians, ambassadors, lawyers, physicians, moral
philosophers and political thinkers also produced its best playwrights,
Erasmus, for one, wouldn’t have been surprised.’
Carol Chillington Rutter, ‘Shakespeare and School’
21. Part Three: A Cultural Phenomenon ... Did
Shakespeare Write Shakespeare?
‘“This palpable device”: Authorship and Conspiracy in Shakespeare’s Life’ by
Kathleen E. McLuskie
‘Amateurs and Professionals: Regendering Bacon’ by Andrew Murphy
‘Fictional treatments of Shakespeare’s Authorship’ by Paul Franssen
‘The Declaration of Reasonable Doubt’ by Stuart Hampton Reeves
‘“There won’t be puppets will there?”: “Heroic” authorship and the cultural politics
of Anonymous’ by Douglas M. Lanier
‘“The Shakespeare Establishment” and the Shakespeare Authorship Discussion’
by Paul Edmondson
23. ‘The “Declaration of Reasonable Doubt”’
‘What, then, has the Declaration achieved in its (to date) five years of existence?
What is it capable of achieving? […] The Declaration that [William] Leahy publicly
signed in 2007 has, next to his name, spaces reserved for the Shakespeare
Birthplace Trust and the Shakespeare Institute, both of which are missing
signatures (I could not find anyone at either institution that remembers being
approached). [This] seems to be a gauntlet thrown down at the ‘orthodox’
Shakespearians, whom the Declaration seems to simultaneously deride for their
small-mindedness and yet crave acceptance from.‘
Stuart Hampton-Reeves, ‘The “Declaration of Reasonable Doubt”
24.
25.
26.
27. ‘Afterword’ by James Shapiro
‘The dismal box-office showing of Anonymous has undoubtedly been
a setback for them; and Emmerich’s own admission that the
Shakespeare Birthplace Trust shares the blame for his film’s rapid
demise is an indication that an organized response contributed to
that end, and was a much better strategy than the one for too long
adopted by Shakespeareans, which was to ignore the problem and
hope that it would go away. The facts and analysis presented in
this volume will make responding to the next film, or the next
campaign, or the next question posed about Shakespeare’s
authorship by a student or a stranger or even a teacher that much
easier.’