MARLOWE created Pennames as SHAKE-SPEARE... but as many more.: January 2017

31 Jan 2017

(503) The grim logic of Oxfordian Richard Malim redating the Shakespeare Plays prior to 1589.

The anonymous author of "The Arte of English Poesie (1598)"...

exhibiting powerful parallels with the language displayed in Shakespeare's plays,

... must be identified as the greatest English Poet Genius

(i.e. Marlowe alias 'Shakespeare' )

The same printer Richard Field

used this emblem a few years later for Shakespeares op.1

(Venus and Adonis 1593) and op.2 (Lucrece 1594)

Oxfordian Richard Malim wrote in Brief Chronicles VII (2016) an article „Oxford and The Arte of English Poesie“. One can agree that the anonymous author of the „The Arte of English Poesie" [s.Faksimile, 1589] cannot have been a supposed certain as George Puttenham!

(s. Blogs - 254 - / - 333 -).

Richard Malim

Malim points to interesting parallels of similar wordings and idioms between „The Arte“ and „Shakespeare‘s work“, which by no means can have occured purely accidental. -

But how to explain the contextual connections between both ?

Malims bizarre conclusion is that the dating of Shakespeare’s works must have been prior to 1589, because Puttenham already quoted Shakespeare (1589) , and that this rules the Stratfordman out , as the author of the plays.

Malims final conclusion: „These examples [of wordings] are a small fraction of those available whereby Puttenham’s quotations can be seen to be taken from works (…) written and in circulation before Puttenham’s publication date of 1589.

Puttenham therefore provides vital pieces of evidence for the dating of works, and these rule out William Shakspere of Stratford-Upon-Avon as the author.“ [thus .... are in favor of the Earl of Oxford?]

Should'nt Malim last sentence be: "The parallels of some wordings and idioms in the "Arte" 1589 compared to Shakespeare's later works do manifest the early genuine inner richness of the "conceptual literary" brain of the "true" poet Genius Shakespeare", whoever he was.

Is it conceivable that at the literary climax of Shakespeare / Marlowe [see--> Marlowe/ alias Shakespeare Thesis] both in his 25th year of life (1589), an unknown author Puttenham wrote nothing else [-->one exception] than this high profile essay : "The Arte of English Poesie?"

If the "The Arte", is exhibiting such powerful parallels with the language displayed in Shakespeare's plays, is'nt it much more likely, that its anonymous author must be identified as the greatest english poet Genius?

Is there any reason that speaks against it?

(502) Shakespeare borrowed from Iane Anger (1589) ?

The true "Shakespeare" (alias Marlowe) at the age of 25 used the pseudonym "Jane Anger", to express his "Anger" about the attitude towards women...

Strikingly many parallels to idioms in Shakespeares plays and poems. -

Scholars know virtually nothing about Jane Anger’s life. She is known only as the author of the writing of "Her Protection for Women" (- about 10 pages- 1589 - s.Faksimile).

Some scholars have suggested that "Jane Anger" was the peudonym of a male writer. Enzyclopedias tell us that she was an English author of the sixteenth century and the first woman to publish a full-length defense of her gender in English. -
In the late sixteenth century, it must be regarded as exceptional or revolutionary for a women to write and publish on secular, or non-religious themes and to argue against male supremacy.
Anger’s Pamphlet is seen as a response to the male-authored text of Thomas Orwin, "Book His Surfeit in Love." Only one copy of the original pamphlet still exists.

Text parallels between her "Pamphlet" and Breton's "Praise of Vertuous Ladies" have been noted. Comparing parallel passages, it was concluded that Breton copied from Jane Anger and that her texts was Bretons invisible source....

...what applies to Breton , applies even more to Shakespeare! The early short text of Jane Anger (J.A.) contains strikingly many parallels to idioms in Shakespeares plays and poems.

(read a few subsequent examples).

J.A. My rashness deserveth no lesse
Ant & Cleo II/2 …well deserved of rashness

J.A. I will not urge reasons
Richard III… Thou knowst our reason urged upon the war

J.A. For my presumption I crave pardon
Henry VI/3 …Let my presumption not provoke thy wrath, for I am sorry

J.A: the judgment of the cause…
         Pericles I/0          the judgment on your eye I give, my cause
        Caesar III/2:       What cause withhold you then, to mourn for him? Oh judgment
          Cymbeline IV/2 for the effect of judgment is oft the cause of fear…

J.A. ..whose tongues can not so soone be wagging
Henry VIII V/3 …and think with wagging of your tongue

J.A. was there ever any so abused
Twelft night IV/2 …there was never a man so notoriously abused

J.A. every blast a whirl-wind puffes
King Lear III/4 …Bless thee from whirlwinds, star-blasting,

J.A. let the stones be as ice
Coriolanus I/1 …coal of fire upon the ice, hailstone in the sun

J.A. …and our honest bashfulness
Midsummer NDr III/2 no modesty no maiden shame, no touch of bashfullness

J.A. dare reprove their (…) false reproaches
Henry V III/6 With edge of penny cord and vile reproach:

J.A.        their slanderous tongues are so short
          Much Ado V/1 Done to death by slanderous tongues
           Lucrece    To slanderous tongues and wretched hateful days?
           Richard III I/2 To slanderous tongues and wretched hateful days?
           MfM III/2    Can tie the gall up in the slanderous tongue?
         King Lear III/2 ….When slanders do not live in tongues,

JA. …and men of dull conceite
Henry VI V/5 …Able to ravish any dull conceit:

J.A.       ...we allure their hearts to us …
            Cymbeline II/4 Look through a casement to allure false hearts
            Passionate Pilgrime…..to allure his eyes; to win his heart

J.A.        she loveth justice and hate iniquity
             MfM II/1    Which is the wiser here? Justice or Iniquity?
             Lucrece        For sparing justice feeds iniquity.

J.A.     …earnest in reprooving mens filthy vices
             MfM II/4    Ha! fie, these filthy vices!
             MfM III/2      From such a filthy vice: say to thyself,

J.A. the lion rageth when he is hungry
Henry VI /II V/3 That winter lion, who in rage forgets

J.A. the jade will winch
Hamlet III/2 Let the gall'd jade winch;

J.A. the shamefull lust…
Hamlet I/5 So to seduce!- won to his shameful lust

J.A. …and they railing tongues
As you like it I/1 Thy tongue for saying so. Thou hast rail'd on thyself.

J.A.    there is no wisdome but it comes by grace
            LLL V/2    Hath wisdom's warrant and the help of school
                            And wit's own grace to grace a learned fool.
          Henry VIII    Your grace has given a precedent of wisdom

J.A. out losse creede their gaines
Merchant of Venice II/3 laughed at my losses, mocked at my gains,

J.A. till they never see the death of honestie

Alls well that IV/4…….Let death and honesty go with your impositions,

J.A. serves suspition of the serpents lurking
Henry VI III II/2 Who 'scapes the lurking serpent's mortal sting?

Noone can assume that these parallels of idioms happened purely accidental or that Shakespeare borrowed from an unknown woman Jane Anger, to such an extent?

The Shakespeare Authorship controversy has long since reached the Comics literature

A French Comic book on the last will

of William Shakespeare

(500)There is nothing more absurd and devious than to recognize in William Shakspeare (Stratford) the poet who wrote Hamlet.

The genius at work („The 'true' Shakespeare“)

is not the Stratfordman!

Note:
There is nothing more questionable than
an alleged authorship expertise
of an academic Shakespeare expert.

It would not be difficult to add 500 further contributions to this blog. ...soon I have to close my activities on the Shakespeare Authorship problem (because of my fading brain). In principle it contains 2 distinct, separate questions of very different difficulties.

The first question:
Step 1: "Why it cannot have been William from Stratford ?"

seems incomparably easier to be answered in the negative than the Second question

Step 2: Who was it ?" "If not the Stratfordman...

After 20 years of intensive reading and understanding, doubts about "William Shakspere (Stratford)" as the author of "Hamlet" have never abated but steadily increased. He cannot have been little more than a front for a literary historical conspiracy. It is, under no circumstances, a "conspiracy theory".

1 There is a genius at work in the "true Shakespeare", but it's not the Stratfordman! It seems not difficult to predict that the Stratford Dogma is not tenable on the long run. The Dogma will become history, sooner or later.

2 It has to make room for a Paradigm shift as soon as the answer to the second more difficult unthinkable question will prevail:

Christopher Marlowe as the single, most plausible solution to the myriad of historical, literary and contextual, pschological, social, forensic, religious, judicial and other inconsistencies.

The authorship issue results from the compelling logic of a complex literary-historical conspiracy problem of an endangered poet-genius, artistically and intellectually [too] far ahead of his time!

(499) A pseudonymously printed controversy and dialogue (1615 / 1617) on a women's worth ...

A treatise about the "worth of women"

.....by one and the same single 'concealed' author: C.Marlowe (alias W.Shakespeare)

3 allegedly independent repliques (1617) of "Rachel Speght", "Ester Sowernam" and "Constantia Mundy"

to Thomas Tel-troth / Joseph Swetnam's "The arraignment".

Public Literary Dialogues

In 1615 a most popular treatise (13 reprints, and 4 reprints translated into dutch) of a misogynistic treatise about the "worth of women"

„The Arraignment (1615)

of lewd, idle, froward, and vnconstant women“ (s.Faksimile) was published by a pseudonymous author Thomas Tel-troth [Tell the truth], calling himself a "nameless friend", who in a second edition in the same year changed his pseudonym to Joseph Swetnam [Sweet name]. He was addressing his remarks to young men as if warning them about the dangers of womankind.

He authenticates his claims by personal experiences as well as quoting those of well known biblical and classical figures lik David, Solomon, Samson, Hercules, Agamemnon, and Ulysses, all having been dependent on the influence of women.

In the subsequent year 1617 three putative independent highly skilled and cultured female writers responded to Tel-troth's/Swetnam's work, in defense of their gender and in criticism of Swetnams critic.

Rachel Speght 1615

1
The first „apologeticall answer“ was by "precocious" Rachel Speght "
A Mouzell for Melastomus" (She responded briefly again in her second publication, "Mortalities Memorandum" (1621).

Esther Sowernam 1616

2

The second „answer“ was from Esther Sowernam ["Sour" name, as opposed to "Sweet"name). "Ester Hath Hang'd Haman", most notable for its reasoned and well-ordered arguments.

Constantia Mundi
1617

3

The third „redargution“ [refutation] was "The Worming of a Mad Dogge", by Constantia Munda, notable for its impassioned invective and impressive learning.[RF]

In 1620 a dramatic response by an anonymous play, Swetnam the Woman-Hater Arraigned by Women (1620) followed.

There are compelling reasons (not described in any more detail) to argue that the male authors (Thomas Tel-troth/ Joseph Swetnam /Anonymous) as well as the three untraceable learned female writers (Speght, Sowernam, Munda) were

pseudonyms of a single "concealed" writer Christopher Marlowe (alias Heywood /Shakespeare a.o.)

____________________________________________________________

It reminds one heavily of a printed "pseudo-controversy" or "dialectic dialogue" in 1621 between two authors ( George Wither / John Taylor) on supposedly opposite essentials of their own life , complementary philosophies , or life "Motto's".

A concealed author (alias the "true" Shake-speare: Marlowe) is hiding cunningly , dialectically ,"contrarily", behind 2 different pseudonyms (Wither / Taylor).

(John) Taylors Motto 1621

(George) Withers Motto 1621

______________________

(498) The yet rejected solution of the Shakespeare Author-ship controversy!

The true author of "Hamlet",

poet genius Christopher Marlowe,

throughout his life (1564-1655) wrote under a

multitude of pseudonyms of an unprecedented scale.

Pseudonyms, i.e. fictitious or assumed names (Synonyms: alias, nom de guerre, nom de plume,) are most usually adopted to hide an individual's real identity for various reasons:

a) in Shakespeare’s case perhaps the most important was „fear of persecution“: Any author in the Elisabethan era who committed secret betrayal or confessed confidential state or religious interests or secrets had to fear for his life, faced with a lawsuit and imprisonment and had to expect prison or torture. With such risks it was almost obvious and mandatory not to appear under the civil name. -

But there were additional reasons

why the true poet genius throughout his life was bearing false names, because

b) a single pen name (such as "Shake-speare") wouldn't have kept the "true" author sufficiently protected or secret. - „Fans“ gradually would have learned who wrote what, under which name, considering the gigantic literary output of the true "author", of a hitherto unknown extent.

c) multiple pen names must had have a business necessity based on such things as contracts with different publishers, etc. -

d) multiple pennames for divergent book genres (...having a different audience) have also been used as a matter of a sales point:

e) the author could use greater freedom of language by hiding under different names of translators
(e.g. Joshua Sylvester......

f) the author could choose names from the outset, for a novel playing in a foreign country or to spread transnational knowledge by using french (e.g. Abraham Fraunce, Everard Guilpin) , italian (e.g. John Florio, Guicciardin) or spanish (e.g. Aleman) author names

g) a pseudonym improved the market chances of some works. E.g. female gender domination in the genre belonging to the other sex, (e.g. Jane Anger, Elisabeth Grymestone, Rachel Speght, Ester Sowernam, Constantia Munda, Aemilia Lanier) or using only the initials or the initials of the first names so that the author's gender can not be identified

h) the author choose easy-to-relate pseudonyms or existing names of known deceased or living people that readers - as a recognition effect - might reference or remember more easily. (e.g. T. Overbury , R. Southwell, G. Chapman, W. Shakespeare)

j) in order to avoid a conflict of "shame", writing putative "trifling", commonplace or „minor“ literature might like to prevent from learning with a pseudonym. ( ...such as Bartholomew Griffin, William Clarke, Nicholas Breton, William Basse, Richard Barnfield ,William Warner...etc.)..

k) many more

This solution, which may seem absurd to many, will only open up to those who are fully acquainted with the immense contemporary literature of the Shakespeare period (->Video 1) and who considers the Marlowe Thesis (Video 2)

video 1

Video 2

(497) Shakespeare's Authorship: Subplot in J.Shirleys Comedy "The wittie Faire one"(1628) exhibits the Blueprint of Marlowe's and Shakspere's (Stratford) destinies .

James Shirley: Another penname of Marlowe (alias Shakespeare) ?

"The Witty Fair One" is a stage play, licensed for performance 5 years after the release of the First Folio, on 3 October 1628, first published in quarto in 1633.

In a subplot, Violetta's cousin Penelope (Mr.Worthy's daughter) is in love with Master Fowler, (A wild young Gentleman [Marlowe?]): even though she knows him to be a libertine who will use her and abandon her if he can. Penelope schemes to lead him to the altar instead.

She manipulates Fowler into attending his own false funeral, where he hears his sordid life recounted; and he imagines how it would be if the funeral were real. Penelope confronts him, as a man "dead" to his nobler nature; as she seems about to renounce him, Fowler repents and promises to reform if she will accept him as her husband.

There can be litte doubt that act V / Scene I- III is not purely fictional but reveals something very authentical: The hearse of Mr Fowler and Fowler himself alive enter the little room [in Deptford], where by report, he dyed, reflecting he [officially] is dead.- No reckonings to be paid with it, no Taverne bills and many more signicant details such as the false servants [Poley, Frizer, Skeres] of some great man [W.Cecil] etc. etc.- But not only the faked death of Marlowe but also the death (departure) of his deare brother [Shakspere] who died shorthly after making his will [1616] and had a Monument in a conspicious place of the Church [Stratford] where we can see him but not knowing him...etc.etc.---

for Details see Video below!

James Shirley : The wittie Faire one": single Faksimile page of Act.V /III

Continuation: Faksimile page of Act.V /III

Shakespeare Monument in the wall of the Trinity church of Stratford

In John Cotgraves: "The English Treasury of Wit and Language" on page 34/35, you find the identical monologue of James Shirley's Master Fowler but with another conspicious conclusion:
"If a man does not erect (in this Age) his own Tomb before he dies , he shall live no longer in Monuments..........if his Consience find no impediment to the contrary, to be Trumpet of his own vertues."

Different ending of Fowlers Monologue in John Cotgraves "The English Treasury"

It can hardly be a coincidence that only 5 years after the erection of the Shakespeare Monument in Stratford and the release of the First Folio (1623) we find a contemporary clarification regarding the situation "of a personal "Monument at a conspicious place of the church"

(496) Shakespeare Authorship: Griffin revisited ! - T. Watsons poetical idea: Coincidence? Plagiarism? Identical Author?

The soundest arguments still shatter at the cliffs

of the orthodox Stratfordian narrow-mindedness.

Tip on figure to enlarge it

T.Watson 1582 - Sonnet 48 - - B.Griffin 1596 -- Sonnet 26

Ekatompathia 1582

Thomas Watson in "Ekatompathia" (1582 - sonnet 48) and 14 years later Bartholomew Griffin in "Fidessa" (1596 Sonnet 26) wrote a metaphorical sonnet with a rather similar topic of a bird and a fly "risking" their lives.

In order to explain this remarkable observation one would have to test at least 3 hypothesis

1.) It happened pureley accidental,- 2 authors invented these ideas independently !
2.) B.Griffin 14 years later plagiarized from T.Watson
3.) Both authors were identical, the author using different pennames or pseudonyms at different times

There would be very very many powerful arguments to accept thesis nr.3 that "Ekatompathia" and "Fidessa" must have been poetical works written under pennames by the same poet genius at the age of 18 and 32 years (Marlowe alias Shakespeare) but even the strongest arguments would shatter at the cliffs of the fatal orthodox Stratfordian narrow-mindedness.

It's at present not worth the effort! One inevitably would be disposed at the landfill of conspiracy theorists.

--------------------------------------

Who else but Marlowe (prior to 1596) could have composed this

highly "authentical" S O N N E T 53?

Still the same: but made another!

Sonnet 53 in B.Griffins "Fidessa" (1596)

Listen!

Pompeian coin, celebrating Fides

Sonnet 53 in the Sonnet Cycle "Fidessa" (1596) of an untraceable Bartholomew Griffin describe authentically the authors own destiny of banishment, exile and identity change ("made another").-
The contents of the 62 Sonnets correspond largely to aspects of the destiny of Christopher Marlowe alias "The true Shakespeare. ( s.Blogs 414 , - 415 -, - 416 -, - 417 -, - 418 -)
The sonnets must be seen metaphorically as a dialogue between the desperate author and his lost godess of trust "Fidessa". She was one of the original virtues of actual religious divinity, the vertue of "trust", of "faith", "confidence", "loyalty" (Lat.:"FIDES")

Who else but Marlowe (prior to 1596) could have composed this highly sophisticated and "authentical" poetic context?

______________________

(494) Authorship absurdities: W.Shakespeare and B. Griffin authors of almost the same sonnet!

All poems of "The Passionate Pilgrime" were written

by a unique concealed poet-genius

__________________________

Sonnet 3 in Fidessa, was slightly modified in 1599 as Sonnet 11 in Shakespeares The Passionate Pilgrime,

A untraceable poet Bartholomew Griffin wrote a series of 62 sophisticated sonnets entitled Fidessa, more chaste than kinde, London, 1596. The dedication to William Essex is followed by an Epistle to the gentlemen of the Innes of Court, from which it can be inferred that the author himself had some relations to the Inns of court.

The third sonnet in Fidessa, beginning ‘Venus and yong Adonis sitting by her,’ was reproduced in 1599 as sonnet 11 in The Passionate Pilgrime, ( a collection of 20 poems by "W. Shakespeare", first published 1599 by William Jaggard ).

Five of the 20 Shakespearean poems of the "Passionate Pilgrime" were later published again: Poem 1 as Shakespeares Sonnet 138,
Poem 2 as Shakespeares Sonnet 144,
Poem 3 as a sonnet in Shakespeares "Love's Labours Lost", 4.3.58—71,
Poem 5 in Shakespeare's "Love's Labors Lost" 4.2.105—18,
Poem 16 in "Love's Labours Lost 4.3.99—118,
Poem 8 in R. Barnfields "Poems in Diverse Humours" (1598).
Poem 11 in B.Griffins "Fidessa" (1596) (s.illustration),
Poem 12 in Thomas Deloney's "The Garland of Good Will",
Poem 19 in Christopher Marlowe "Live with me and be my love",
Poem 20 in R. Barnfield "As it fell upon a day", First published in Poems in Divers Humors (1598).

-   In Poems 4, 6, 7, 9, 10, 13, 14, 15, 17, 18 no known author has been disclosed.

In a third edition of "The Passionate Pilgrimme" (1612)   2 additional love epistles already published (1609) by Thomas Heywood were included..- None of the writers (Griffin, Barnfield, Deloney, Marlowe, Heywood) was credited in The Passionate Pilgrim.

The Stratford Myth (or Taboo) prohibits the testing of plausible theories:

All poems of "The Passionate Pilgrime" were written by a unique concealed poet-genius

alias Griffin, Barnfield, Heywood, Shakespeare, former C.Marlowe....

2 Penn engineers start from false assumptions!

They use texts of contemporary authors (they are convinced to know) who collaborated with Shakespeare!

(Such as Middleton, Fletcher , Chapman, Peele)

_____________________

<---------
Prof. Alejandro Ribeiro

and Mark Eise , ------>

Dept.of Electrical and Systems Engineering, Penn University

Two Penn engineers tell us

on a --> BLOG <---click

that they reached a landmark conclusion, by using "word adjecent networks" (A way of analyzing a piece of text to determine unique hidden characteristics of its writers)..

Believe it or not, Prof.Ribeiro confirms , that

"There is by now evidence that about a third of the plays Shakespeare contained pieces that were not written by him"... and that

"...we keep enlarging the number of people with whom Shakespeare collaborated and that will help us understand better his creating writing process..." and that

"...we know now that Marlowe played an important role on Shakespeare becoming Shakespeare"

There is a little problem. How do they know for sure that they start from correct assumptions claiming that

a) we have the ability to use texts that we know, who the writers of those texts are , and we can use that knowledge to classify texts, we don't know...

b) e.g. by ...comparing the Marlowe profiles to some of Shakespeare's late plays where we know that Marlowe was not the candidate of those plays...

Do they really know?

Fallacies (as an erroneous argument dependent upon an unsound or illogical contention) happen....
.
.. When an individual utilizes another individual’s lack of information on a specific subject as proof that his own particular argument is right.

... When somebody asserts that a thought or conviction is correct since it is the Thing the general population accepts.

These fine absurdities or inconsistencies naturally have something to do with the unsolved problem of Shakespeare's authorship.-

The Stratford Myth (or Taboo) prohibits the testing of plausible theories: e.g. that authors investigated (such as Middleton, Fletcher, Chapman, Peele, Shakespeare) were pennames of the same unique poet-genius (Marlowe thesís)