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Product details
File Size: 1280 KB
Print Length: 449 pages
Publisher: Grove Press (February 8, 2011)
Publication Date: September 1, 2018
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B003OYIG1E
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This book does more harm to Oxfordians than good. It seems like, in an effort to say something new without actually finding anything new, he just makes wild leaps that seem to have no basis in anything but his own hypotheses. He claims Anne Boleyn believed herself to be Henry's bastard daughter, based on a love note she wrote him which in no way suggests anything of sort. He makes the claim that, in promising to Henry to be loving and kind, she clearly means kind as kin, so she's admitting she thinks her lover is her father. Sure, Jan. I stopped reading barely a chapter in, when in describing Elizabeth being molested by her stepfather, he describes it as being her raw sexual energy that caused it, and then wraps it up by calling the then-fourteen-year-old Elizabeth (not even an adult woman by Tudor standards) a "fully sexual adult." There are mountains of evidence that Edward DeVere was the true author, but unfortunately, with the exception of references to points made by more dilligent scholars, they won't be found in this ridiculous, farcical book. This book is just page after page of bizarre, baseless leaps. 2 + 2 = 47. You can pass on this.
I enjoyed the book and thought it was interesting, but whether or not it was the "true history" or not remains to be seen!
This is a terrific book - my favourite amongst the now imposing library of works on the Shakespeare Authorship Question (`the SAQ'), the great majority of which now support Edward De Vere, the 17th Earl of Oxford as the true author of the Shakespearean canon of plays and poetry. When I gave this to an Oxfordian friend of mine to read he simply declared that "He's nailed it!" This was a person who had first introduced me to Charlton Ogburn (jnr's), 'Mysterious William Shakespeare' about 10 years ago and I think his pithy remark encapsulates what for those of us we have been looking for in the examination of the authorship question - and that is the deeper links between the life and the poetic drama and torments of the plays and the poetry. Beauclerk's literary analysis is simply the best thing I have read in decades.Yet as much as I love this book, I almost feel there needs to be a warning on the cover: NOT SUITABLE FOR BEGINNERS TO THE AUTHORSHIP DEBATE! In saying that I don't think that means that people who aren't beginners to the authorship question need to agree with everything Beauclerk has to say - indeed in the two years since I read this I am now less convinced on one of the key premises myself - however the danger with jumping into this without first absorbing some of the more `basic' works which challenge Stratfordian orthodoxy, is that the more fundamental `baby' of Oxford's authorship - first clearly identified in 1920 by Thomas Looney - will be thrown out by readers who can't see it for the more shocking bathwater! As 3 star review from open minded `newbie' Joe Keenan notes, Beauclerk doesn't seek to justify Oxford's authorship, and without this justification the reader who is as yet not totally convinced of Oxford's authorship may find Beauclerk fitting the facts backwards to match his thesis.This is the concern that many Oxfordians have had with the movie Anonymous. While movie makers, like Anonymous Director Roland Emmerich might like to shock, shouldn't we first get people to accept the reality of the baby first? Beauclerk and Emmerich probably reject this in principle. Part of Emmerich's motivations might have been to entertain but I expect Beauclerk (and possibly Emmerich) would also wish to argue that a pristine baby is less realistic - and thus ultimately less convincing - and that it is only with the bathwater that we can see the whole messy reality. The question that Oxfordians have struggled with is not any doubt about Oxford's authorship - Orson Wells famously summed up the attitude of all Oxfordians soon after he had read Looney's book, when he said that if you didn't believe that Oxford was the author there were an "awful lot of coincidences which needed to be explained". Nor is the key question related to the naive notion of Stratfordians that Oxford's authorship could not have been hidden from public view during the era of growing police-state power under Elizabeth. No, the key question is why it was hidden and hidden beneath the mask of another man, apparently with the intention that this anonymity and false identity should be forever. Oxfordians since Looney have grappled with this - Beauclerk is the latest and most compelling of the authors in this investigation.So, at the risk of stretching this metaphor too far, what's the bathwater? Readers of the earlier 5 star reviews will see that Beauclerk's book builds on the thesis of Paul Streitz in 2001 that Oxford is Elizabeth's son from an affair she had in her around the age of 16. Working backwards Streitz's work builds on the massive 1300 page tome of Dorothy and Charlton Ogburn (snr) 'This Star of England' (1952) that Oxford was Elizabeth's lover in the 1570s (but not her son) when he was about 24 and she was about 40, and that she had a child by this affair, one Henry Wriothesely, later known to history as the Third Earl of Southampton, the person to whom Shakespeare's two long poems 'Venus and Adonis' (1593) and 'The Rape of Lucrece' (1594) are dedicated (and who later was lucky not to lose his head as a result of his involvement in the Essex rebellion of 1601). The Ogburn's thesis is known as the Prince Tudor 1 (or Henry Tudor 1) thesis - Henry Wriothesely effectively being the future Tudor Prince Henry; and the Streitz's thesis which incorporates this, with Oxford being the Queen's son, is the Prince Tudor II thesis.Clearly, quite apart from the fact that the creaking Stratfordian orthodoxy won't even countenance talk of there being an authorship question, let alone that Oxford is the most obvious candidate, accepting PTII not only requires you to disagree with the English nationalist shibboleth that Elizabeth was a virgin (per PTI which the senior Ogburns were cruelly socially ostracised for, for the rest of their lives), the fact that PTII incorporates PTI requires that you also believe that Elizabeth and her son had incest is going to be quite a stretch for anyone who is new to the discussion! Could it be true? Well although these days I now believe that Streitz was right in concluding Oxford was Elizabeth's son, I'm less convinced that Oxford and his mother had sex together, and hence were Wriothesley's parents (per PTI). In other words, when he promulgated Oxford as Elizabeth's son Streitz would have done better, in my view, to jettison the validity of the senior Ogburn's PTI thesis; and to argue in effect that he had come to an alternative thesis not a complementary one. Could this be just because I am squeamish? Perhaps, but I don't really think so.It is actually amusing for me to recall that when I was in high school in the 1970s there was a lot of titillating speculation about the suggestion of incest between Hamlet and his mother, Queen Gertrude. One famous director of the play (I can't recall who) had Hamlet hovering sexually over his mother who was prostrate on her bed in their great scene together. Serious academic critics wrote deeply about the Freudian undertone to this powerful mother/son relationship. But you see that was in the day when most Shakespearean literary critics stuck to their knitting. Blissfully ignorant of the SAQ, these brilliant literary psychoanalysts of human drama - Jan Kott, Wilson Knight come to mind - delved deeply into the plays without any fear that they were about to lose tenure because they had transgressed from orthodoxy. That changed gradually over the 20th century however as authorship orthodoxy came under increasing challenge, initially in fits and starts but then with ever mounting pressure from time of Charlton Ogburn jnr's masterwork 'The Mysterious William Shakespeare'(1984). With the challenge initially coming from a bevy of `amateurs' from outside the academy - some admittedly a bit bonkers in the early decades - the academy saw a challenge to its credibility and funding from the Stratfordian Birthplace tourism funds, and have been mounting increasingly hysterical attempts to make the works fit the meagre and uninspiring profile of the Stratford man. This has not only been pathetic and outside the competence of literary critics - they are generally much less qualified in historical analysis than many of the authors they deride as amateurs - it has also led to a tragic abandonment of what had been their true area of expertise, namely insightful and fearless literary analysis based on the TEXT, not on biographical fictions about the Stratford man.Literary criticism and Shakespearean pedagogy has suffered terribly because nowadays there are no orthodox academics who have the courage to talk about the sexual tension between Hamlet and his mother, because to do so would be to invite the question: what could that possibly infer about the author and his relationship to his own mother? The only tenure-safe approach is to not touch the subject, or to argue pathetically that such tensions in the play have nothing to do with the psychology of the author - that great drama and poetry can be disembodied from the emotional being of the author who created them. (Oxfordian Steven McClarran, has thoroughly exposed this orthodox `murder' of the emotional life of Shakespeare in his big work 'I Come to Bury Shaksper'.)I don't know if Oxford and Elizabeth had sexual congress but I do know they had an extraordinarily intimate and tempestuous relationship. These days I am more inclined to believe that it is sufficient to explain their relationship, and Shakespeare's works, simply because they were indeed mother and son. On this score I think Streitz was right - 'Hamlet' is biography and once you see that, everything falls into place. However, unlike Streitz, Beauclerk and Hank Whittemore (the leaders of the Prince Tudor II thesis) I don't think Southampton has to be the progeny of the Queen. There is a case for it but it strikes me these days as less sure than the foundational realisation that Oxford is Elizabeth's son - the brilliant son of the brilliant mother. The problem as I see it is that the more speculative paradigm of them being lovers preceded in time the more credible paradigm of them being mother and son, and the acceptance of the one paradigm before the other has led much PTII analysis astray - or at least I am becoming suspicious of this the more certain the PTII adherents become in some of their interpretations of certain Sonnets. As such, I'm inclined now to opt for something like 'Prince Tudor 1.5' ! The brilliant young princess became pregnant (there are a couple of good candidates for the father, Seymour or De Vere senior), and she and her son (Oxford) have a highly tempestuous relationship which he writes about in plays and poems. When he is in his twenties he has an affair with the Countess of Southampton, which leads to the birth of Henry Wriothesely, his son and Elizabeth's grandson - no incest required.But isn't it possible that apart from just metaphorically 'hovering over her on the bed' they went all the way? Did the real Queen Gertrude, as it were, actually throw back the covers! Beauclerk's book provides a powerful narrative for how this could happen. I think he (and PTII generally) might be wrong on this one speculative issue but in challenging us to consider this he has produced a compelling narrative which can only make you think.As a precaution though, if you are new to the authorship debate I would recommend some 'primer' reading. While there are now dozens of possible recommendations, I propose the following basic reading list before tackling Beauclerk:1. Tony Pointon, 'The Man who Was Never Shakespeare' - destroys Stratfordianism and narrows the field of credible alternatives to three contenders Bacon, Mary Sidney, and Oxford.2. Mark Anderson, 'Shakespeare by Another Name' - the modern classic matching Oxford's life to the plays and Sonnets.3. Katherine Chiljin, 'Shakespeare Suppressed' - examines the Essex rebellion to explain why Shakespeare's works are caught in it and need to be suppressed.With these under your belt, you should have a confident hold of the 'baby' and be in a position to decide how much, if any, of the 'bathwater' in Beauclerk needs to be jettisoned.
In depth recounting of the history of the period, but I think the author may give Edward DeVere too much credit for the English Renaissance in literature. Many of his conclusions, such as that Edward DeVere was Elizabeth I's son and her paramour, cannot be proved or disproved, but they do seem to be a stretch.
Beauclerk is a bard himself, although he hates the analogy. Not a work I would normally read, but he's a fine chap, and I look forward to his book about John Ogdon, hopefully published this spring.
The author, Charles Beauclerk, has done something remarkable. He's used Shakespeare's own words to give us insight into what motivated all Shakespeare's works. By a combination of studying who might be the member of royalty who had to remain anonymous in order to survive during the reign of Queen Elizabeth, Beauclerk creates the most likely story of "Shakespeare's" need to write so both his contemporaries and posterity could know what this queen had deprived him of. His approach to research is in contrast to what others who try to figure out exactly who the real Shakespeare was by only focusing on external clues.
Fascinating book! Thoroughly researched, beautifully written, deeply moving. Gives so much depth to the works of Shakespeare. Highly recommend. I read this after watching Anonymous and the PBS doc Last Will and Testament. Changes the context of so much.
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