The True Authorship Of The Works Attributed To William Shakespeare Ess

The True Authorship Of The Works Attributed To William Shakespeare In 1564, a man was born by the name of William Shakespeare. He was born to a poor family, was given little education, and had no interaction with sophisticated society. Thirty-eight plays and over 150 sonnets are not attributed to this ignorant man. Those who believe that Shakespeare was the author have no definitive proof but instead point to Hamlets declaration: The plays the thing(Satchell 71). The true author, however, lies hidden behind he name of Shakespeare. Edward de Vere the premier Earl of Oxford is not only considered a great poet in history, but he may also be the great playwright who concocted the sonnets and plays which are now attributed to William Shakespeare of Stratford, England. Edward de Vere was the Lord Great Chamberlain and the seventeenth Earl of Oxford. He was raised as a Royal Ward and from a very young age was educated in the sports and arts of nobility. Although disgraceful for a nobleman to waste time writing frivolous plays, Oxford as a young man wrote and staged the entertainment for the court. As an adult, he became engrossed in theatrical performances and frittered away his fortunes in support of several writers and actors (Friedman 13). During this time, De Vere also began writing several poems and plays. Much like Samuel Clemens, who wrote under the name of Mark Twain, Oxford adopted the pseudonym Shakespeare. Soon after plays appeared under the name of Shakespeare, poems by de Vere ceased (Russell 5). Coincidently, the coat of arms of Lord Bulbeck, a third title of Edward de Vere, is a lion shaking a spear (Ogburn 10). De Vere was also known by the people as the spear-shaker because of excellence at the tilts and at jousting (Russell 5). Many believe this pen name was for protection. Many of the plays said to have been written by Shakespeare explicitly describe the corruption in court politics and contain thinly veiled satires and parodies of politicians and courtiers. In addition, public theatres such as the Globe were laced with prostitutes, drunkards and criminals and because of the scoundrel audiences, playwrights were held in low esteem. Moreover, many scholars believe de Veres reasons for his pseudonym may be linked to the homoerotic threads in many of the Shakespearean sonnets and de Veres possible homosexual affair with his son-in-law. Using his identity would have been a dangerous game when such affairs were a high crime (Satchell 71). There are many allusions in Shakespeares plays which de Vere would have been particularly familiar with. As a child, de Vere was tutored by Arthur Golding, the translator of Metamorphoses. This literary work was alluded to several times in Shakespearean plays. De Vere also studied law and traveled across the continent, spending a great deal of time in Italy (Tweedale 12). Many references to Italian art and architecture are also alluded to in Shakespeares plays. William Shakespeare of Stratford, however, never left England (Friedman 10). The author of the Shakespearean plays had to possess a rare knowledge in several disciplines including physical sciences, medicine, he law, astronomy, and the Bible. Shakes of Stratford received no formal education with the exception of grammar school through the equivalent of third grade. De Vere, however, was taught by only the best tutors (Satchell 71). The Shakespearean plays were also written by one who has had interaction with the aristocracy and understood the workings of royalty from the inside out (Friedman 10). Although there is no evidence that Shakespeare moved freely about this society, de Vere was regarded as a brilliant ornament of Elizabeths court (Sachmartino 13) and as such would have understood what it as like to live in the aristocracy. De Veres very life is in many ways represented in the plays attributed to Shakespeare of Stratford. For example, in the play Hamlet, de Vere describes many of the details of his life. Like the main character Hamlet, de Vere is virtually a prince and also of Danish decent. De Veres cousins, Horance and Francis are strikingly similar in name and action to Hamlets two friends, Horatio and Francisco. The anguish Hamlet felt due to his mothers hasty remarriage after the murder of her

Chronicle of a Death Fortold Essays - Gabriel Garca Mrquez, Santiago

Chronicle of a Death Fortold Essays - Gabriel Garca Mrquez, Santiago Chronicle of a Death Fortold Chronicle of a Death Fortold, by Gabriel Marquez, is concerned with death in life and life in death. It was rainy on the day of Santiago Nasars murder, and yet by the account of others, it was not. His death is so mingled with illusory images that everything seems mystified: much like death itself. The fact that the story is about how a death consumes the lives of the entire town as well as the victim, shows that it is concerned with death in life and asks us to evaluate our own views. Not only is the story concerned with death in life on the literary level, but the people of the town feel obliged to honor and offer gifts to a bishop that doesnt even like the town. It is perhaps because they fear if they do not keep their faith, they are putting in jeopardy their fate after death; this is the primary concern of all religions, life after death and fear of the unknown. "For years we couldnt talk about anything else. . .and it was obvious that we werent doing it from an urge to clear up mysteries but because none of us could go on living without an exact knowledge of the place and the mission assigned to us by fate"(113). "All right, girl, he said to her, trembling with rage, tell us who it was. . .Santiago Nasar, she said"(53). Whether or not Santiago Nasar was the reason behind Angela Vicarios lost honor, his death shapes and defines her life afterwards. Many in the town describe her as being a woman half in mourning and the narrator is amazed at how she ends up understanding her own life despite how much she was made to die in life(101). Chronicle of a Death Fortold makes us look at life and death and face uncertainty about our future. Because it questions death and our belief in religion, it depreciates, in a sense, our strong belief in the glories of afterlife. Like the narrator, maybe we, "couldnt bring ouselves to admit that life might end up resembling bad literature so much"(102). It makes us think that we should be content now, and not later, and that the intermingling of life and death is not purely coincidental, but perhaps one is no greater than the other.