The Road to Polisy, Part II


Though I believe that recognition of how a writer “tongue-tied by authority” could speak in ways that eluded the censors may have crystallized when Oxford was gazing at Hans Holbein’s painting The Ambassadors just outside of Troyes, France, the road to Polisy began in Mantua. Continue reading


The Road to Polisy, Part I

You may first want to read The Road to Polisy: An Overview

What do the following have in common, besides being times when Shakespeare used visual arts – a painted statue, plays within plays or a painting  – to effect a transformation for characters and for the audience? Continue reading

Betrayed by Envy’s Whim: Oxford, Southampton and Davison’s Anagrammata

Identifying the “impious crew” of Catilines in Francis Davison’s epigrams

Francis Davison’s 1603 publication of Anagrammata in Nomina Illustrissimorum Heroum contained thirteen epigrams in praise of eminent men, “fairly predictable exercises in courtly flattery” as described by Dana Sutton of the Philological Museum. Yet the epigrams for the Earls of Oxford and Southampton “may merit more consideration” in Sutton’s opinion. Continue reading

The VVV in Oxford’s Crown Signature

In The Marian Crown in Oxford’s Signature I explored the possibility that the crown or coronet was a stylized form of Marian Mark. The paraph over Edward de Vere’s signature could look like an M or a W with an attached serif.



Yet in the neatest and, I believe, earliest version we have it is clearly a VVV.

crownsignature2I was working on the cabala of Sir Thomas Tresham and how his Triangular Lodge intersects with the play Love’s Labour’s Lost when I stumbled over another VVV and understanding finally clicked. Continue reading

Horace Vere’s Grandson was Named Horatio

Oxfordian authorship theorists connect Hamlet’s friends Horatio and Francisco to Edward de Vere’s cousins, the famous “Fighting Vere” military commanders, Horace and Francis.

“Horatio, I am dead. Thou livest. Report me and my cause aright to the unsatisfied…O God, Horatio, what a wounded name. Things standing thus unknown, shall I leave behind me. If thou didst ever hold me in thy heart, absent thee from felicity a while, and in this harsh world draw thy breath in pain to tell my story.”

Continue reading

To Claim a Kingdom

Oxfraud may have a point when he observes that Elizabethans did not number their Earls, putting a kibosh on the significance of the number 17. Of course he spends quite some time kicking a dead man and would never inform a reader that Master of Revels George Buc called Oxford “a magnificent and very learned and religious man” or that George Chapman remembered that the Earl “was beside of spirit passing great/ Valiant, and learned, and liberal as the sun/ Spoke and writ sweetly of learned subjects/ Or of the discipline of public weals.” Unlike Alan Nelson, Oxfraud did not even compliment Oxford’s lovely and legible handwriting, although he does give the Earl props for claiming descent from Lady Godiva.


If the seven slashes on the flourish that underscored his signature did not signify that he was the 17th Earl of his line it opens the way to the interpretation that it simply linked the number seven with Edward which is in itself quite meaningful. To understand why we have to look at religion for a little bit but as Buc noted de Vere was a highly religious guy. When he wasn’t being blasphemous that is. Continue reading

Six Degrees of Shakespeare

Since it lay there for so long with nothing in it, WordPress has inspired me to launch this long delayed blog with an encouraging auto message and the following quote from Shakespeare:

And as imagination bodies forth
The forms of things unknown, the poet’s pen
Turns them to shapes and gives to airy nothing
A local habitation and a name.