The link to the Oancitizen Anonymous video is dead as a result of the Blipocalypse. Thankfully, Kallgren uploaded the video to Youtube. Someone should swap the links.
- McCrum, Robert (8 January 2017 00.03 GMT). "How ‘Sherlock of the library’ cracked the case of Shakespeare’s identity: Literary detective Heather Wolfe reveals how her passion for manuscripts helped unravel mystery of who the bard really was". The Guardian. Retrieved 14:38, 8 January 2017 (UTC).
- Neat, thanks! Reverend Black Percy (talk) 14:56, 8 January 2017 (UTC)
Were Downton Abbey, 'numerous TV programs on the royals', The King's Speech etc written by upper class persons #or# by middle class scriptwriters (with or without a degree)? If the latter why couldn't Shakespeare have written his plays (especially if he had access to the nobility willing to beta-read his plays)? 184.108.40.206 (talk) 22:17, 8 January 2017 (UTC)
This article sucks
If you're having trouble reading popular interest literary digest or serious scholarship on Oxfordian, it's probably because you, like the rest of the 20 something staff of this site, have poorly developed reading skills. Here's a start. http://www.smithsonianmag.com/arts-culture/to-be-or-not-to-be-shakespeare-127247606/
What the hell is pseudohistory? Is it revisionist history? Why use that clunky, pretentious term to describe serious pursuits into history. That isn't to say belief and investigation into claims Shakespeare being creatively divorced from the literature ascribed to him are professional historiography, but it certainly is history. Since interest in a historical topic, not cursory skimming of all things fringe and jumping up and down on the dogpile in order to affiliate with other Serious Person bubble-pipe smokers. I'm guessing it helps exercise your authoritarian tendencies that allow you to get off at seeming like an expert on a topic you haven't actually done any serious research into. Make up scientist gets boring? Be a make believe historian. But we already have a term, in this case, that fits, which I just described: revisionist history. You might want to punch up your pseudoWikipedia.— Unsigned, by: lambchowder / talk / contribs
The reference used for the evidence in the Stationer's Register:
- Montague, William Kelly (1963). The Man of Stratford—The Real Shakespeare. Vantage Press.
Is a crap reference that is not widely available to verify its quality. Vantage Press was the largest vanity press in the US until they went belly up following a major lawsuit on marketing practices. A better reference with more complete information is:
- The Life of Shakespeare: Copied from the Best Sources, Without Comment, edited by Daniel Webster Wilder (1893) Little, Brown, and Company.
I am not sure if this should be included in this article and if so, in what way, but the authorship of Shakespeare's work seams to be quite commonly used as an example for a type of time paradox:
Imagine you take back all the works of Shakespeare, travel back in time to before he wrote them and then hand them over for him to release over time. Then who wrote them?
Maybe that Shakespeare was chosen for that example was because of a certain prevalance of Anti-Stratfordianism?
- I don't think it's relevant to the article. The paradox pertains more to time travel than to Shakespeare per se. Bongolian (talk) 03:38, 14 May 2018 (UTC)
Better lead quotation?
- I tend to agree. Hitchens was just making an aside, and his real purpose was to denigrate the Hebrew scriptures and the Koran, neither of which are relevant here. I replaced it with a well known quotation about which there is some mystery who told it first. Smerdis of Tlön, wekʷōm teḱsos. 20:23, 15 October 2020 (UTC)
- I was going to go with Mamet, dammit:
“The anti-Stratfordians hold that Shakespeare didn’t write Shakespeare’s plays—it was another fellow of the same name, or of a different name. In this they invert the megalomaniacal equation and make themselves not the elect, but the superior of the elect. Barred from composing Shakespeare’s plays by a regrettable temporal accident, they, in the fantasy of most every editor, accept the mantle of primum mobile, consign the (falsely named) creator to oblivion, and turn to the adulation of the crowd for their deed of discovery and insight—so much more thoughtful and intellectual than the necessarily sloppy work of the writer.”