(419) An clairvoyant early vision of the "Shakespeare problem"

 A L E X A N D ER    D Y C E 

 "if every old tragedy of more than usual merit, whose author is either doubtful or unknown, must be fathered' upon Marlowe, the catalogue of his [Marlowes] dramas will presently be swollen to a size, not easily reconcilable with the shortness of his life."

_________

Alexander Dyce "The Works of Marlowe" 1850

Alexander Dyce (1798 – 1869)  Dramatic editor and literary historian, an  early  biographer of Christopher  Marlowe in 1850 published 

                   --->"The Works of Marlowe 

with some account of the author, and notes".  In his chapter "Some account of Marlowe and his Writings" he concluded with 2 amazing prospects:

1.) It has been objectured that both "Locrine" and "Titus Andronicus" are by him:  but, if every old tragedy of more than usual merit, whose author is either doubtful or unknown, must be fathered' upon Marlowe, the catalogue of his dramas will presently be swollen to a size, not easily reconcilable with the shortness of his life.

2,) ...that he[Marlowe] displays the vast richness  and vigour of his genius. But we can hardly doubt  that if death had not so suddenly arrested his career, he would have produced tragedies of more uniform excellence; nor is it too much to suppose that he would also have given still grander manifestations of dramatic power. 

Indeed for my own part, I feel a strong persuasion, that, with added years and well-directed efforts, he would have made much nearer approach in tragedy to Shakespeare than has yet been made by any  of his countreymen.

_____________

---

In 1850 Marlowe expert Alexander Dyce seems to have been clearly ahead of his time!  

But yet there was   an insurmountable   barrier  to recognize "Shake-speare" as a pseudonym / penname  of the incomparably productive Marlowe since he was murdered  in a dispute over the payment of a bill exactly at the time of his greatest threat to life by the church and state.

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(418) The unimaginable (never noticed) revelations of the "true" Shakespeare: B.Griffin ,"Fidessa" part 5

F I D E S S A  (5)                          Griffins sonnet cycle  ---------------------- Concealed Christopher Marlowe  wrote under multiple pennames / pseudonyms  (such as  B.G r i f f i n  or W.Shake-speare).  --------------  Sonnet 53 of Griffins "Fidessa" is an absolute blue print  of Marlowe‘s  destiny It’s a damning verdict for English Literature, that it never succeeded to identify an author B.Griffin having written the distinguished sequence of Sonnets „Fidessa“ 1596 at the peak time of Elisabethan sonnetiers. - The main reason for this failure was, among others, the fact, that is was not possible to fit highly specific contexts of an outstandig poet to the poets biographic situation. For 1596 this would only have been possible if the Marlowe theory would have been contemplated.- Fidessa in all respects literally provides the authentic blueprint of Christopher Marlowe‘s destiny (alias name: Shake-speare) . Sonnet 53 in FIDESSA YET AM I STILL THE SAME: BUT MADE ANOTHER, THUS NOT THE SAME: ALAS I AM NO OTHER. ———————- Is there any other  poet  (besides Marlowe) in 1596 who could have  described himself   in such a concise way ?  Of Course, it couldn't  be Marlowe, because he was dead!  Shouldn't literature rethink the matter? __________ for details s. VIDEO! . —————— VIDEOS – Complete Video Archive: CLICK. —> https://www.youtube.com/@bastianconrad2550 OPEN  —>   Heading-->  Home -->Videos -- Shorts  -- Posts                                                       ->Popular

(417) The unbelievable confessions of the true Shakespeare: B.Griffin in "Fidessa" Part 4

                      F I D E S S A  (4)

—————————————-

                         Griffins sonnet cycle 

Sonnets 13 and 26  both deal with the  autobiographic theme of its author

  ( Marlowe/ alias Shakespeare) who did expose himself  with lethal risks he had not foreseen.

________________________               s.Video below!         ____________________________

I die to live in care (XIII)

These did...perish all and die, ...

and even so doe I. (XXVI)

Sonnet 13 Sonnet 26

Sonnets  13 and 26 have nothing to do with "Amatory sonnets". Identically they both deal with the same autobiographic theme of its author  who did expose himself  with lethal risks he had not foreseen. He defends himself against the accusation of his lack of fidelity /loyalty.

He ambigously argues with his inner opposite, his virtue /his Queen. One can assume with considerable plausibility, that the author (Marlowe/alias Shakespeare) sees himself metaphorically in the mirror.

- Sonnet 13 -  the foolish Boy that did aspire  to touch the glory of hihg heavens Frame, compare me to Leander struggling in the waves, not able to attain his safety's shore

- Sonnet 26-   the proud aspiring Boy that needs would pry into the secrets of the highest seats, had some conceit to gain content thereby  or else his folly sure was wondrous great

Superficially the  last 2 lines in sonnet 13 and 26 differ, they disclose the matured art of Marlowe's (alias Shakespeare's) remarkable verbal dexterity,  his incomparable astute use  of  ambiguity and ambivalence ..

(416) How devastating the Academic Stratford Dogma has misguided literary studies.: B. Griffin, " Fidessa" part 3

                            F I D E S S A  (3)

——————————-

                             Griffins sonnet cycle 

Fidessa" as a prime example 

of how devastating the academic Stratford dogma  

has misguided literary studies ..(s.video below!)

1  I hide 2  my head 3 a)my face /    b)no face 4  I live     a) alone /     b) as I were          dead

Last part of Sonett 33 (Fidessa) 1596

The 62 sonnets  of  Fidessa by B.Griffin (1596) represent a remarkable rare piece of poesie.

Apparently at present only a single exemplar in the Bodleian Library does exist! It is not certain, that the prename "B." of "Griffin" was „Bartolomew“. Alexander Grossart in 1876 published  a first reprint (50 private copies ). He regretted he could add  nothing to the poets empty life and biography, since  every probable source of information has been explored without success. All information we have is Fidessa, a small volume of "Amatory Sonnets",  as Grossart called it.

All 62 Sonetts  of the poem cycle "Fidessa" can and must be seen as a continuous poetic confrontation between the author himself  (concealed Marlowe/ alias Shakespeare) and his destiny.

Various sonnets of "Fidessa" have been identified as  putative "plagiarisms" of other authors: The third sonnet in Fidessa, beginning "Venus and yong Adonis sitting by her", was reproduced in 1599 in "The Passionate Pilgrime" (by W. Shakespeare), the Sonnet 35/39 in "Delia"  (Samuel Daniel) .

Sonnet XXXIII (33 s.Faksimile ) clearly illustrates the situation of the author (Christopher Marlowe/alias Shakespeare). As in Shakespeare's sonnets  the author  uses the method of repetition (doubling)  of specific word to highlight the contextual importance:

 He has to hide(1) his head (2) and live (3) alone as if he were dead, with  no identity,  no face(4)

The poem  of  "Fidessa"  clearly needs a theory of who was the author  providing us with an explanatory framework for its interpretation.

 The "Stratford Dogma"  had catastrophic consequences, since it  blocked all ideas  to approach an authorship solution!
_____________

——-

415) The incredible revelations of the "true" Shakespeare: B. Griffin. Fidessa Part.2

 

                             F I D E S S A  (2)

Significant  biographical informations in Fidessa should lead to the  conclusion that the name “Griffin” (a fabulous animal having the head and wings of an eagle) 

                      was used as  Marlowe/alias Shakespeare's  pseudonym.

s.Video below!

_______

                                                                   

A certain B.Griffin wrote  a“ little volume of Sonnnets”, a series of 62 poems entitled “Fidessa, more chaste than kinde, London”, 1596.  

No trace of a poet B.Griffin has ever been discovered over centuries.

To obtain biographical information of Griffin, we are dependent on the contextual information extractable from Fidessa..

What conclusions can we derive from Fidessa?  

“Fidessa” is an artifial word derived from

a) “fides” (faith, confidence , trust in a person or thing – or an obligation of loyality, or fidelity to a person,  a promise, or an engagement) and

b)"...essa", a female ending thus transformed into a metapher of a female subject / godess, with which the poet enters a dialogue .-This is reminiscent of the philosophy of Shakespeare e.g. in "The Twelfth Night" (II / 5), ("Put thyself into the trick of singularity. She [as his virtue] ran thus advise thee that [she] sighs for thee").
  
The situation of  the author clearly indicates that the author is and has been in a most dangerous,  vexing and conflicting life situation of loyalty and confidence. The poems surpass Shakespeare's sonnets in some places in its poetic brilliance and contain substantial  biographical notes on the authors  specific situation: 

Significant  biographical informations in Fidessa can hardly lead to any other conclusion than that the name “Griffin” (a fabulous animal having the head and wings of an eagle) was used as  Marlowe/alias Shakespeare's  pseudonym. This can be recognised in virtual all  sonnets :(s.examples  subsequent. blogs)

Ai  Video Dialog (by NotebookLM)

on the ORIGINAL VIDEO     (below !)

O R I G I N A L - VIDEO

(414) The Shakespeare authorship theory is falsely rejected...... ["Fidessa" part 1]

                            F I D E S S A  (1)

—————————

Griffins sonnet cycle  

... a coherent interpretation. 

A certain B.Griffin wrote  a series of 62 poems entitled “Fidessa, more chaste than kinde, London”, 1596./ (“little volume of Sonnnets”).  Initially there is a dedication “To the Reader” entitled  “To the gentlemen of the Inns of Court”, from which it can be inferred that Griffin himself had some sort of relations to the Inns of Court, but no trace of him has ever  been found in the registers. Of  an  English poet B.Griffin  virtually nothing is known up to now beyond a single "poetic masterwork", the sonnets of "Fidessa"  (s.Faksimile title  1596.) There are highly conspicious  inconsistencies, which have never be explained adequately:  Some examples: 1.) Why there  exist virtually no biographic traces of B. Griffin in England? 2.) Is it reasonable to think that such a highly gifted poet did  write only a singular  literary work? 3.) Why "Fidessa" is seen by high  ranking Shakespeare experts  (Prof.W.Koppenfels, personal   communication) as "third-class" amatory sonnets of minor Elisabethan poets? 4.) Why no literary expert ever tried or succeeded, to assign the contextual contents of "Fidessa" to a specific contemporous author and his biographic situation? 5.) Is it reasonable to think that  the poet Griffin was able to write his very first literary work ("first fruite of any my writings") already at that high level of  poetic artistry? 6.) How can it be that  Sonnet 3 of  Fidessa (1596) beginning "Venus and young Adonis sitting by her"   also appeares as Shakespere's first work (op.1) as well as a Sonnet in The "Passionate Pilgrim" , 1599? 7.) What may have been the motiv of Shakespeare (whoever the author was!)  to significantly  alter the lines 9-13 of Griffins Fidessa (1596)   in "The Passionate Pilgrime"(1599)                                                              s.Blog 494) 8.) Why Shakespeare can be clearly identified as the author of "The Passionate Pilgrime [s.Faksimile] on the title page",  but other  identified authors such as B.Griffin, C.Marlowe or R.Barnfield are not mentioned? ________________________ The at present most plausible explanation for the total failure of the "Academic Shakespeare Expertise", to search for a consistent theory of these bizarre "Fidessa" observations, lies in the fact, that the most logicall thesis was rejected from the beginning: The Marlowe/alias Shakespeare Thesis : a covert "false flag" operation of the English Crown and State helped to feign Christopher Marlowe's death for life-saving reasons During his concealed "second" live he accepted to write under a multiplicity of pseudonyms /pennames such as Griffin, Barnfield , Shake-speare and so on!) _______________ Ai  VIDEO - DIALOG on The Original VIDEOS       (1 &2)  O R I G I N A L --V I D E O- 1 O R I G I N A L --V I D E O- 2

(413) Diana Price did not tackle the actual necessary step of the Shakespeare authorship problem,

Diana Price "scientifically" involved 

in unveiling the "false" Shakspere… 

but…

…not in revealing the "true" Shakespeare.  - Inexcusable!    

Both problems belong intrinsicly together....  and should be answered together!

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

....She didn't dare to imagine the unimaginable:   that a multiplicity of contemporary poet names were pseudonyms or pennames (e.g   Wither , Cary , May, Davenant Sylvester, Drayton, Beaumont , Fletcher , Heywood , Shakspeere , Massinger...)

of the single poet geniius ,"true" Shakespeare.  

Diana Price: Unorthodox Biography"

Some of the true Shakespeare's pennames
In George Wither." The Great Assises " 

         

Diana Price, author of the book  "Shakespeare’s Unorthodox Biography: New Evidence of an Authorship Problem", gave a lecture (s.video) on the occasion of the 400th anniversary of Shakespeare of Stratford’s death , at the Berkeley Street Theatre in Toronto.

Historically the Shakespeare authorship problem never felt obliged to proceed to the second step researching the actual question:” Who did it, [if not William of Stratford].?

Only a minor community of intellectuals, sceptics, scholars (Non-stratfordians) entered the second stage. One of todays best known „Non-Stratfordian“ scholars is Diana Price. Her research adds to longstanding conclusions that William Shakspere of Stratford by no means can have been identical with William Shakespeare, the creator of Hamlet. -

Interestingly Price has never aligned herself ( as far as I can see)  with any one other possible candidate, even though she got  this far into the authorship issue.  Unfortunately she  nevertheless   did never privilege one candidate over another.

Her website tells that she has been invited to all "Oxfordian"  conferences, but she doesn’t go because she does‘t want to be perceived as favoring one particular candidate over another . She generally doesn’t take questions on the case for or against Oxford, or Bacon, or any of them. When she is asked , „Was it Shakespeare or was it Oxford?" she frames the question differently "Was it Shakespeare or was it not Shakespeare?"

That is remarkable.- One wonders.....

...why at her  absolute certainty of the first stage  (that William of Stratford was not the creator of Hamlet) , she never  seem to have felt the need to enter the second stage?

How can Diana Prize expect that a yet unknown poet can be discovered from oblivion?  the answer to the first stage seems easy (considerung the immense collective efforts done )  compared to the answer of  the second stage. – 

The problem is not the "false William" but the "true"!
 

Without solving the Authorship problem as a whole 
all hollow words!

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

Diana Price

Shakespeare's Unorthodox Biography

(412) The ridiculousness of Shakspere's authorship disclosed! (Professionally made Video , part 1)

Richard A. Wagner 

Baconian 

…has announced to produce a  4-part TV series which delves into the Shakespeare Authorship Issue .

study V I D E O  (part 1) below!!

_________________

Based on his  book  “The Lost Secret of William Shakespeare” [ freely available online] Richard Allan Wagner has started to produce a  4-part TV series which delves into the Shakespeare Authorship Issue .

The professionally made part 1 now available, exposes well known facts and arguments why there is not enough evidence to support the traditional claim that William from Stratford was involved with the authorship of the plays and poems attributed to the name "William Shakespeare".

One can fully agree with the arguments of Video Part 1  “Exposing the Shakespeare conspiracy“ which enlightens us who the author was not!!!.-

Wagner   summarizes  all  the  evidence (developed over a century), that William of Stratford can not have been the author of Othello or Hamlet.

Since Rick Wagner is a „Baconian“ and a Freemason , I am afraid, that the (promised) upcoming parts are not as easy to digest, …but already now its certain that - beyond all cypherology - the "true Shake-speare" was an influential forerunner ("predecessor") of  Masonic philosophy.

Exposing the Shakespeare 

Conspiracy  part 1.

---

Exposing the Shakespeare 

Conspiracy  part 2.

(411) The adulatory "media pabulum" (Bardolatry) for William of Stratford during his anniversary

B A R D O L A T R Y

...mainly written by a journalistic juvenile "pseudo-expertise" with always newly copied  concoctions,  makes it necesssary also  to point to  opposing views  (s.Video)

____________________________

Basically science is about doubt.- Someone who does not doubt will not put essential questions .

Academic Shakespeare experts (Synonym. "Stratfordians) have not or never had any doubt ! Thats why they have rejected it from the beginning, to even tackle a single of the numerous problems and inconsistencies of Shakespeare's authorship questions scientifically.!

Usually Research starts with developing and testing  a "working hypothesis"  challenging current paradigms. 

e. g.

a) Is William Shakspere (Stratford) identical with William  Shakespeare

 (Author of  "Macbeth" or "The  Winters Tale"?   

b) Was Marlowe’s murther feigned in reality?  

The current mighty "media pabulum" of an adulation of William of Stratford  (Bardolatry) during his anniversary  (apr.23, 400th year of death) , mainly written by a journalistic juvenile "pseudo-expertise" with always newly copied  concoctions,  makes it necesssary also  to point to  opposing views  ....

____________________________

 Conversation between Mark Rylance und Sir Derek Jakobi:            



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(410) The Shakespeare Authorship Question: An abysmal academic taboo ! (Video)

Virtually  all   

Shakespeare authorship inconsistencies 

could  be resolved , ...

... if  the World  would be ready to accept the complex  "Marlowe" authorship  thesis of a 

“Covert Operation of the State and Crown"

a textbook conspiracy theory

—————-

a recent Video creation  intended to contribute to the 400th anniversary of  

the  death of William Shakspere, Stratford (23.April 2016) .
https://youtu.be/9fdgR2OubvM?t=1

William of Stratford  allowed the true poet (deadly threatened Christopher Marlowe/alias Shake-speare) to mask his identity and use his name as  his pseudonym for safety reasons. 

----Marlowe's death, a plot  ( a real conspiracy !) was feigned with support of the Crown (William Cecil). 

The defamed national Poet, Dramatist  and Superstar of London's Theater, Christopher MARLOWE

- according to the law threatened with death, charged of treason-

was forced to permanently give up his name and identity, to live undercover and write under many pennames/pseudonyms (incl. Shakespeare) throughout his life.- 

The totally covered situation reminds one to current practices of hidden false flag "Insider"operations  (such as WTC-7).

Virtually  all   Shakespeare authorship inconsistencies  could  be resolved , but only when the world is ready to accept the complex  "Marlowe" thesis of A "Covert Operation"

(compare it to 9/11 or the Kennedy-Assassination)

(by definition  strictly designed  that nobody will be able to disclose it....)

(409) Shakespeare's empty grave. Why the missing skull ?

Shakspere's skull missing 

(...in his Grave...)    

Why the global media coverage did not touch  the century old Shakespeare authorship question (SAQ) a single time, possibly related to this result? 

__________________

One should realize that the more amazing thing would have been if the skull were found to be intact.

____________

Archaeologists recently scanned for the first time (using  GPR,  Ground-Penetrating Radar)  the grave of  William Shakespeare at England's Holy Trinity Church in Stratford-upon-Avon.- The findings were featured in a documentary "Secret History: Shakespeare's Tomb"  on Britain's Channel 4 TV and had a great media coverage.-  They made a head-scratching discovery: 

Shakspere's skull missing

(also no other bones were identifiable(?), but astonishingly not mentioned). 

Time has not yet come for orthodox Stratfordians, mainly literary academics, to rethink about the life of the author of Shakespeare's works with the possibility of an entirely different paradigm  deliberately dismissed. 

Given the facts abouts the empty grave why has the global media coverage not touched the century old Shakespeare authorship question (SAQ) a single time? (read Blog 345 The SAQ: The most perverse , irrational academic Taboo ever...)

(408) The "true" Shakespeare . (Polimanteia , Part 6 )

P O L I M A N T E I A (7)

The Author

Christopher Marlowe :

The jew of Malta

 (printed 1633)

„The Jew of Malta", was a successful play of Christopher Marlowe, which has been premiered in London 1592 with 36 performances during 1591/92.. It opens with a prologue spoken by Machevill (Machiavelli) indicating an allegoric autobiografic presentation of Marlowe's change of identity, his survival and his frequent concealed returns to Englands.- 

(»Machevil« has been proposed as the anagram »Ch. M. Alive«)  of the living Christopher Marlowe.

The play wasn't published until 1633, long after all those who would have been involved in court saving Marlowe from the Star Chamber, were dead. 

It is of note that Marlowe was referred to as "Machevill" by his friends.(T.Nashe, R.Greene, G.Harvey) It is not known at what time the prologue was added to the play, most likeley 1601 after a noticeable revival and textual revision of the play. For several reasons the play was printed for the first time only in 1633.

The first words of the prologue clearly clarify Marlowe’s situation: The world believes that he is dead,  (»albeit all the world think Machiavel is dead, but in reality  yet  was his soul but flown beyond the Alps; and , now the Guise is dead, is come from France and frolic with his friends.  … and let them know that I am Machiavel« .

The historical Machiavelli was dead at that time for nearly 100 years. Machevil , who plays no role whatsoever within the play. Marlowe expresses in the prologe, that
 «, »to frolic with his friends«  »to some perhaps my name is odiuos (»but such as love me, guard me from their tongues« »let them kow that I am Machiavell »admired I am of those who hate me most«,  »though some speak openly against my books«).

Marlowe is fully aware that some speak openly against his book«),.  (»Yet will they read me and thereby attain To Peter’s chair« they do not want to conflict with religion, he  count religion but a childish toy »and hold there is no sin but ignorance«). He reflects, wich rumors my have distributed his alleged murder  (»Birds of the air will tell of murders past (»I am ashamed to hear such fooleries«).  (»Let me be envied and not pitied!«).  (»But whither am I bound? I come not, I, To read a lecture here in Britanie, But to present the tragedy of a Jew«). 
                                                   ______________________

In »Polimanteia« the author describes the danger, caused by equating him with Macchiavelli.- He sees this as the main  reason for his fateful doom (»Machivell hath obtained so much credit amongst the greatest states men of all Europe, Atheisme hath perswaded the world of my death«). No comparison could have been been more harmful for him.(»Cann any counsel be more pernicious to a Common wealth?«... »which he never meaneth to imbrace in trueth« 
.
This statement can easily recognize Marlowe as the author of "Polimanteia".

Who else would have had in 1594 reason to accuse Machiavelli as the cause of his "supposed" demise?

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