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Orville Ward Owen. Dr. Orville Ward Owen (January 1, 1854 – March 31, 1924) was an American physician, and exponent of the Baconian theory of Shakespearean authorship. Owen claimed to have discovered hidden messages contained in the works of Shakespeare/Bacon.
The first book by Charlotte Stopes on Shakespearean matters was The Bacon/Shakespeare Question (1888), which examined attitudes on particular details found both in Bacon's works and in those attributed to Shakespeare. Mrs Stopes concluded that there were fundamental differences, arguing that Bacon was not the author.
In 2008, John Hudson, scholar and theatre producer, introduced the idea that Lanier wrote the works of Shakespeare. [2] [5] [6] Hudson found similarities between the works of Shakespeare and Lanier's poetry book Salve Deus Rex Judaeorum. He also noted her educated background and cosmopolitan upbringing as support of the idea.
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.
A musical The Dark Lady by Sophie Boyce and Veronica Mansour is in development, depicting the "what if" scenario whereby Lanier uses William Shakespeare's name in order to have her plays seen. The musical has been developed at the Eugene O'Neill Theater Center (2023) and Goodspeed Musicals (2024) with a cast of Broadway and Off-Broadway favourites.
Henry VI, Part 2: 1590–1591 A version was published in 1594, and again in 1600 (Q2) and 1619 (Q3); the last as part of William Jaggrd's False Folio. See notes for Henry VI, Part I above. Parts I and III of Henry VI are known to have been playing in 1592, and it is assumed (but not reliably known) part 2 was presented at the same times.
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.
Shakespeare also places the statement that there is a "futility of fighting against sensuality". [31] in the later sonnets 127-154 because when faced with the Dark Lady, one is left with nothing but torture and woe. These also reveal that in the "dark lady" sonnets, the pattern of falling in and out of love does not necessarily occur one after ...