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Little is known of Shakespeare's personal life, and some anti-Stratfordians take this as circumstantial evidence against his authorship. [37] Further, the lack of biographical information has sometimes been taken as an indication of an organised attempt by government officials to expunge all traces of Shakespeare, including perhaps his school records, to conceal the true author's identity.
Oxfordian researchers believe that the play is an early version of Shakespeare's own play, and point to the fact that Shakespeare's version survives in three quite different early texts, Q1 (1603), Q2 (1604) and F (1623), suggesting the possibility that it was revised by the author over a period of many years. [citation needed]
Jonathan Bate writes, "No one in Shakespeare's lifetime or the first two hundred years after his death expressed the slightest doubt about his authorship." [2] Proponents of alternative authors, however, claim to find hidden or oblique expressions of doubt in the writings of Shakespeare's contemporaries and in later publications.
Portrait miniature of an unknown woman, possibly Emilia Lanier Bassano, c. 1590, by Nicholas Hilliard [1]. The Emilia Lanier theory of Shakespeare authorship contends that the English poet Emilia Lanier (née Aemilia Bassano; 1569–1645) is the actual author of at least part of the plays and poems traditionally attributed to William Shakespeare.
It is the second in a set of three sonnets (40, 41, 42) that dwell on this betrayal of the speaker. This sonnet is also notable for the textual references made to Shakespeare's other works. The sonnet is written in the typical Shakespearean sonnet form, containing 14 lines of iambic pentameter and ending in a rhymed couplet.
He was on the editorial board of Shakespeare Survey (1964–72). He was a senior fellow of the British Academy (1989), a fellow of University College London (1992), and a fellow of the Royal Society of Literature (1999). Jenkins received an honorary D.Litt. from Iona College in New Rochelle (1983). [13]
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Shakespeare opens a mine which contains gold and diamonds in unexhaustible plenty, though clouded by incrustations, debased by impurities, and mingled with a mass of meaner minerals." Goethe: "There is no pleasure greater and purer than, with eyes closed, accompany a Shakespeare's play, not declaimed, but recited by a safe and natural voice." [3]