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You've heard 'purported' experts say that Edward de Vere as Shakespeare is absurd.
"Why anyone is drawn to de Vere's cause is the real mystery…" said one in a New York Times OpEd.
Well, if you see with your own eyes smoke coming from the Hyphen on the cover of SHAKE-SPEARES SONNETS (1609); the Mask on the cover of the First Folio (1623); and then the 'Smoking Gun' lying next to the Daughter who produces that First Folio – Ben Jonson was in love with Susan de Vere, Countess of Montgomery, wife of Philip Herbert one of the "INCOMPARABLE PAIRE OF BRETHREN" First Folio dedicatees, to boot; there's no "mystery" anymore.
It's easier to grasp where the waters can't be muddied by the 'Stratfordian Sham Industry' – peer into the crystal clear waters of the Evolution of the English Sonnet:
• The 'Father of the English Sonnet', Henry Howard Earl of Surrey was married to the 15thEarl of Oxford's daughter, Frances de Vere.
• The next landmark in the Evolution is the 'Hekatompathia' sonnets of 1582 produced by his nephew Edward de Vere 17thEarl of Oxford.
• Even 'Stratos' have to agree that 1-17 of SHAKE-SPEARES SONNETS are about marrying off Edward de Vere's daughter.
Thus they have a big problem trying to fit their Stratford guy into the picture. How they can do that, is the real "mystery". Why would Vere use Guillem Shaksper, whose successful businessman's Will mentions nothing about Plays or books.
Especially as, if you replace the fatherly tone of the wooing of the prospective groom to marry his daughter, with some concoction that Shaxsper had a relationship with the 'fair youth', then it appears Shake-speare was homosexual.
In contrast, Vere was the one "made lame by fortune's dearest spite" in Sonnet 37 which is a classic linchpin connecting him from the Sonnets through to the Plays, like a main circuit cable – in the Quarto version of 'King Lear' [Act IV, Scene 6 (213-221)] he confirms to us that it's on his brain with "A most poor man, made lame by fortune's blows". So much so that his wife, Elizabeth Trentham (the 2nd most forgotten proto-feminist and prime shaker in history) had to buy their house in Hackney where s37 lame, poor and despised Vere was marginalized from society, with nothing else to do but write, before 'purportedly' exiting the stage in 1604 (his grave has never been found).
And it's not that the 'GRAND POSSESSORS' allowed many of Vere' works to come to light only after 1604, it's that so many were reworks of much earlier pieces, like 'Romeus and Juliet' of 1562, 'Ur-Hamlet' and the 'King Leir' version with the happy ending. To fit the Stratford Johnny come lately into writing the final versions it repeatedly makes the greatest writer in history look like the greatest 'plagiarist' in history.
Ironically these snob experts are adamant that only university professors with lifetime employment (dependent on maintaining the status quo) have the intelligence required to make conclusions about the man Shake-speare. And so they conclude the heretics can only be snobs for being able to see that the Earl fits perfectly into the Sonnets but not the grain merchant.
And these elitist academes, that are entrusted with our children's education would have it that the use of a pseudonym and frontman was unheard of at the time. They will decide what history our children are fed (think about all this the next time the school demands more money for these turkeys). But we spotlight all the documented Vere 'collaborations' with 'assistants' like John Lyly – 'Euphues' 1580 (the first English novel), Anthony Munday – 'Amadis de Gaule' saga 1590s-1619, all the way to Mary Sidney Wroth – 'The Countess of Montgomery's (/ Susan de Vere's) Urania' 1621, the first English prose by a woman – which set afloat Susan's message in a bottle to posterity.
And the Stratos would also have it that we are deluded if we can see Vere and his contemporaries had great respect for 'Pallas Athena', Greek goddess of wisdom and civilization as patron of Elizabethan Theatre shaking her spear at ignorance.