SHAKE-SPEARE the MysteryA distinguished O .U . alumnus has written a book revealing a scientist's efforts to discovertrue authorship of plays attributed to Shakespeare . Following account, Chapter 7 of book,reveals his answer . The spelling "Shake-speare" has been adopted by author from originalspelling in First Sonnet Folio and other works .

"I've reared a monument, my own,More durable than brass,Yea, kingly pyramids o f stoneIn height it doth surpass .Rain shall not sap, nor driving blastDisturb its settled base,Nor countless ages rolling pastIts symmetry deface .I shall not wholly die, some partNor that a little, shallEscape the dark destroyer's dartAnd his grim festival ."

Ode Epilogue of Horace

l1AKE-SPEARE did not strive for origin-ality in his sonnets any more than he

did in his plays . In the dramas his style and

the foreground of his thought derived fromhis fellow University Wits ; his classic back-ground was the broadest possible includingderivations from Sophocles, Euripides,Aeschylus, Aristophanes, Darius Phrygius,Ovid, Horace, Virgil, Lucretius, Statius,Catullus, Seneca, Terence, and Plautus . Theinspiration for his sonnets came principallyfrom Ovid's Metamorphosis, various poetryof Horace, and from Chaucer's Roman dela Rose . As Francis Meres has indicated,Shake-speare as a poet was closer to Ovidthan to any other writer. A comparison ofShake-speare's time sonnets with the F,lpi-logue to the Odes of Horace, quoted above,will show the similarity of thought and ex-pression between the two poets . Apparently,

Author suggests Queen Elizabeth may he author of Sliak, -pearean plays .

Did actor William Shakespeare merely act greatest role for his Qocen'?

By GEOIZGE ELLIOTT SWEET, '27chem, '291ns

contemporary poets had relatively littleinfluence on Shake-speare's sonnets, whichargues that he was one of the first Eliza-bethans in the sonnet field . Since thesonnet fashion reached its peak in the1590's, it is natural to assume that Shake-speare wrote his sonnets before the 1590's .Therefore, we have an independent indi-cation that Mr . Hotson's date of compost-tion is correct .

ManV interpretations can be put uponthe sonnets . Some critics view them as al-legorical, some think that they are moredramatic than personal, others that theymight have been written merely as exer-cises in the art of composition in the son-net form . All of these various elements

SEPTEMBER, 1956

PACE. 9

probably play a part. We will never knowjust how personal or just how artificial thesonnets are. Since the poet is of necessity acentral figure in a sonnet as he is not in aplay, the literary detective, while he knowshe is on shaky ground because of the lati-tude allowed by poetic license, neverthelessis so starved for clues he is bound to specu-late on the possible revelations as to thepoet's character, physical attributes, andidentity contained in the sonnets . The lit-erary detective hopes that the sonnets areas personal as E. K. Chambers thinks theyare by his, "Here are souls that pulse andwords that burn."The first 126 sonnets are written in ad-

miration of the physical, mental and spirit-ual beauty of a "lovely boy." The nexttwenty-six are principally devoted to con-demning the infamous "dark lady" as awanton with a soul as dark as her com-plexion. The narrative of the "lovely boy"and the narrative of the "dark lady" takentogether strike a most discordant note . Thesixteenth century was still the age of chiv-alry . The story of King Arthur and hisKnights of the Round Table continued tobe the most popular story in England. Nosmall percentage of the populace took thestory to be history and actually awaitedKing Arthur to return as he had promised .The Tudors claimed to be descended fromArthur through Owen Tudor, grandfatherof Henry VII. Serious writers suggestedthat Queen Elizabeth was the embodimentof King Arthur and that the ElizabethanAge was the Golden Age of the return ofArthur . A poet was expected to sing thepraises of some beautiful lady and by thesame token, I suppose, a poetess would beexpected to dwell on the admirable quali-ties of some beautiful boy or beautiful man.But here we have a poet singing a boy'spraises and throwing mud on his lady . Thisis certainly a maladjustment. T. G. Tuckerdecries the lack of "decent taste and ordi-nary chivalry" in most of the "dark lady"sonnets.

In 1640 John Benson edited and pub-lished a medley of Shake-speare's sonnets inwhich in some cases he altered the sex ofthe addressee by switching the pronouns .Through the influence of Benson and oth-ers, the view was generally adopted thatthe main body of the sonnets was addressedto a woman. Samuel Coleridge took theposition that the main body of the sonnets,"could only have come from a man deeplyin love, and in love with a woman." For acentury and a half, the presumption pre-vailed that the addressee was a woman ;then came a reversal . Edmund Malone tookup the study of changing the male pronounsto female pronouns and after extensive re-

PAGE 10

SOONER MAGAZINE

search arrived at the conclusion that themain body of the sonnets was addressed to aman. Edmund Malone established this hy-pothesis as the correct theory and his viewshave prevailed down to the present. Ma-lone was a thorough and competent re-search worker on Shake-speare . He it waswho discovered the poaching story ofWilliam Shakspere's youth had to be falsebecause Sir Thomas Lucy did not have adeer park until much later. Malone also ex-posed a number of Shakespearean forgeries.

S OMEWHERE OR SOMEHOW there appearsto be a misplaced gender about the son-

nets . Barrett Wendell recoiled at the ideaof myriad-minded Shake-speare sincerelyprostrating himself before a boy patron ;then reminded himself of Elizabeth Bar-rett Browning's Sonnets from the Portu-guese ; she was six years older than her"lovely boy," Robert Browning .The picture of the "lovely boy" as gen-

erated by expressions in the sonnets is veryflattering . He is "the world's fine orna-ment," a "beauteous and lovely youth." Heis in his late teens or early twenties, "Andthou present'st a pure, unstained prime."He has red or auburn hair, "And buds ofmarjoram had stol'n thy hair," The boy isas fair in disposition and mental ability ashe is fair of face, "Fair, kind and true, is allmy argument"; also "Thou art as fair inknowledge as in hue." The beautiful youthhas a beautiful mother and we have a hintthat Shake-speare has known her in herlovely girlhood :

"Thou art thy mother's glass, and she in theeCalls back the lovely April of her prime" ;

What is meant by the seventh line of Son-net 20 : "A man in hue all hues in his con-trolling"? Gerald Massey suggests that itmight refer to Robert Devereux, Earl ofEssex, who had for one of his titles, Ewe .Herman Conrad for a number of reasonsselected the Earl of Essex as the "lovelyboy." In the Encyclopedia Britannica, E . K.Chambers mentions this choice of Essex,disagrees with the idea, but praises Con-rad's work in general. Essex had auburnhair. He was born on November 19, 1566,and would have been twenty in April, 1587,which would fit the time requirements per-fectly .We see personal allusions to Shake-speare

in some ten sonnets.

Sonnet 22"My glass shall not persuade me I am old,So long as youth and thou are of one (late ;But when in thee time's furrows I behold,

"Then look I death my days should expiate."Sonnet 37

"So I, made lame by fortune's dearest spite

Take all my comfort of thy worth andtruth ;"

Sonnet48"But thou, to whom my jewels trifles are,"

and"Within the gentle closure of my breast,"

Sonnet 62"But when my glass shows me myself

indeed,Bated and chopp'd with tann'd antiquity"

and"Painting my age with beauty of thy days"

Sonnet 63"Against my love shall be, as I am nowWith Time's injurious hand crush'd and

o'erworn ;"

Sonnet 72"My name be buried where my body is"

Sonnet 73"That time of year thou may'st in me beholdWhen yellow leaves, or none, or few, do

handUpon those boughs which shake against the

cold,Bare ruin'd choirs, where late the sweet birds

sang.In me thou seest the twilight of such dayAs after sunset fadeth in the west ;"

Sonnet 76"Why write I still all one, ever the same,And keep invention in a noted weed,That every word cloth almost tell my name,Showing their birth and where they did

proceed?"

Sonnet 89"Speak of my lameness, and I straight will

halt,"

Sonnet 94"They that have power to hurt and will do

none,That do not do the thing they most do show,Who, moving others are themselves as stone,Unmoved, cold, and to temptation slow ;They rightly do inherit heaven's graces,And husband nature's riches from expense ;"

The ideas expressed by Sonnets 72, 76,and 94 might be guideposts and then again,they might not be . Perhaps Sonnets 72 and76 are hints as to Shake-speare's identity .Perhaps Sonnet 94 is autobiographical .From Sonnets 37 and 89 we gain the im-pression that Shake-speare is lame or hasbeen lame some time in the past . Thereshould be no doubt that the four age son-nets, 22, 62, 63, and 73 mean what they sayin the absence of any contradictory evidencein the rest of the sonnets. Another age son-net, number 138, has not been quoted be-cause it is a member of the "dark lady"sonnets in which we believe Shake-speare isspeaking with another's voice and gazingwith another's eyes . The age sonnets plain-ly relate that in 1587 Shake-speare wasmiddle-aged, perhaps forty or fifty. In thisyear, William Shakspere was in his earlytwenties .

Gerald Massey was of the opinion thatSonnet 48 was spoken by a man to a wom-an, but J. M. Robertson comments of Mas-sey, "he instantly evokes the rejoinder thatit is more fitly to be conceived as addressedby a woman to a man." The only solution

that will completely lay to rest the problem

of the misplaced gender of the main body

of the sonnets is to assume that Shakc-spcarc was a woman . A fantastic idea?hardly, when for years Mary, Countess of

Pembroke, has been seriously considered asa candidate for Shake-speare's position .T. W. Baldwin is of the opinion that boththe "dark lady" sonnets of the 127-152

series and the allusion to a lady ill Sonnets40, 41, and 42 are purely literary fictionalfabrications. If such be the proper inter-pretation, then for the sonnets to have beenwritten by a woman makes even greatersense. It would be quite natural for a wom-an to feel called upon to show her esteemand admiration for a lovely boy.

In the two books of Frank Harris, TheMan Shakespeare and The, Women ofShakespeare, the author many times pointsout the womanly qualities of Shake-speare .In the introduction to The Women ofShakespeare he makes this explanationabout choosing a title for the book : "Hereagain Shakespeare will reveal himself asthe gentle, irresolute, meditative poet-thinker-lover we learned to know in theOrsino-Hamlet-Antony, an aristocrat ofmost delicate sensibilities and sympathetichumour whose chief defects are snobbish-ness and overpowering; sensuality, if in-deed this latter quality is not to be reckoneda virtue in an artist or at least an endow-ment . But the public probably would havemisunderstood the title The WomanShakespeare, so I changed it to The Womenof Shakespeare ." Mary Fitton has long beenthe popular choice for the dubious honorof being the "dark lady" of the sonnets.Mary Fitton was Frank Harris' enthusiasticchoice . Toward the end of the hook TheWomen of Shakespeare, Harris says : "MaryFitton was so strong that she seems to havebeen the positive or masculine element andShakespeare so gentle-sensitive that he wasthe feminine element in the strange union .The soul has not always the sex of thebody." We agree with but little of whatMr . Harris has to say. For entirely di fferentreasons we can see feminine traits in Shake-speare .

Does Mary Herbert, Countess of Petn-broke, fit the time-scale? She does not. InApril 1587 she was twenty-five and wouldhardly fit either the age or the time sonnets .Furthermore, she would be about the last

person in the world to have had a love af-fair with the Earl of Essex or anyone else .Only the year before, her beloved brotherhad been killed in The Netherlands in bat-tle ; Mary was busy with her husband andher young children ; apparently she wascon-tent and happy except for the shadow ofthe death of Philip Sidney .

George Elliott Sweet, scientist turned literary detective, is seen with his son, Jerry.

Shakespearian ScientistA descendant of Sir Francis Drake

would naturally he curious about the

world his ancestor lived in . George El-

liott Sweet, '27chetn, '29ms, certainly is,

and for years he's been reading all he can

find concerning the Elizabethan age.

When Sweet isn't traveling around the

country in fulfillment of his duties as

president of the Sweet Geophysical

Company, he may be found at the near-

est library. Always the scientist, he likesto dig out facts and sift them for truth;Such a sifting process formed the back-

bone of his new book Shake-speare theMystery, published at Stanford Univer-

sity Press .

Sweet turned down an unsolicited ap-

pointment to Annapolis in order to come

to O.U . for two degrees in science. He

was a college athlete, a hurdler and quar-

ter-miler, but a heart murmur almost put

W t : HAVE ANOTHER woman candidate;

she fits the age sonnets perfectly, and

in April 1587 she fell in love with Robert

Devereux, 1".arl of Essex. On May 3, 1587,

one Anthony Bagot wrote a letter in which

he said, "When she is abroad, nobody with

her but my lord of Essex, and at night my

lord is at cards, or onegame or another with

her, that he comcth not to his own lodging

till birds sing in the morning." The lady

a stop to that. However, a wise doctortold him to keep running and the mur-

mur would go away . It did.

Sweet's controversial book is dedicat-ed to his son Jerry, just turned 13 and ofwhom his father writes this : "In the last

year in Little League Jerry well ten

games and lost two; for all 1 know hemay be pitching for the Sooner Nine

some day." 1 le is married to the formerMildren Robison, '3Gba, '_38Law. Thefamily lives in Malibu, California .

Comments made thus far by first read-

ers of Shake-speare the Mystery have

ranged froth orchids to onions : some are

convinced by Sweet's argument, others

outraged . Most, though, seem fascinated

by the book, which Barbara Bundschu of

United Press said "reads like a detective

story --a description with which the

editors are inclined to agree.

was none other than England's queen,

Flizabeth Tudor. She was fifty-three, her

lovely boy but twenty ; a much greater dis-

crepancy than between Elizabeth Barrett

Browning and Robert Browning . Elizabeth

Tudor was charming at any age and she

was a great and noble queen .

The critics specify that Sonnet 104 was

written for a birthday or some other kind

(a)winued Page 23

Sra-renatstac, 1956

PA(a: I l

Oklahoma A&M at Stillwater, December1-Outlook is for more speed, more depthand less experience than any OklahomaA&M club since 1948.These are the teams Oklahoma will meet.

If the Sooners are to continue their impres-sive string of wins and other records, theywill have to perform at top form through-out the season . A let-down against any op-ponent could provide an upset. Teams ratedthe best chance of doing it are Notre Dame,North Carolina, Texas and Missouri .

This season could be Coach Wilkinson'sfinest coaching hour . If his Sooners fulfilltheir potentialities, he could have his thirdnational championship .

Shake-speare . . .Continued from Page 11

of an anniversary . We have already learnedfrom Leslie Hotson that Sonnets 104, 107,123, and 124 were composed late in theyear 1589. The birthday of Essex was onNovember 19 ; cold weather had no doubtset in by November 19, 1589, which wouldhave fulfilled all the requirements of Son-net 104 and would place the compositionof Sonnet 1 in April 1587 . The expressionsin Sonnet 104 "Since first your eye I eyed"and "Since first I saw you fresh" meansince the day I discovered my love for you .Elizabeth had known Essex as a child, butApril 1587 was the first time she had metthe man Essex, the warrior returning fromthe Lowlands campaign .

Elizabeth and Essex were parted on sev-eral occasions during the three-year inter-val 1587-89. Sonnets 26-32, Sonnets 43-52,Sonnets 56-61, and Sonnets 97-99 were writ-ten during periods of absence. Late in theyear 1590, the Earl of Essex secretly mar-ried the widow of Sir Philip Sidney . WhenQueen Elizabeth found out about the mar-riage she was exceedingly angry, but wassomewhat mollified when Essex consentedthat his wife should live "very retired in hermother's house." E. K. Chambers suggest-ed that Shake-speare wrote Romeo andJuliet because of a perturbing love experi-ence through which he had just passed .From the London earthquake reference wecan fix the date of the composition of Ro-meo and Juliet as 1591, the next year afterEssex's marriage .The reference to Shake-speare's lameness

in Sonnets 37 and 39 may be explained asmeaning the sore on Elizabeth's leg thatbothered her for a number of years. OnJuly 1, 1570, De Spes, the Spanish Am-bassador, in a letter to Madrid reported that"The illness of the Queen is caused by anopen ulcer above the ankle, which prevents

her from walking." Sonnet 37, however,may refer to a more lamentable lameness .Ben Jonson's story to a tavern friend thatthe Queen ". . . had a membrana on her,which made her uncapable of man, . . .finds a striking parallel in Sonnet 37, whichstrongly suggests sexual lameness .

"So I, made lame by fortune's dearest spite,Take all my comfort of thy worth and

truth."

Lytton Strachey in his Elizabeth and Es-sex informed the public that Elizabeth andEssex contended "like school children" inthe realm of learning and literature . Thesonnets were Elizabeth's part of that con-tention, which was echoed centuries laterwhen another poetess wrote Sonnets fromthe Portuguese to her younger love, RobertBrowning. The writer of the sonnets wasalso the writer of the thirty-seven plays andthe two long poems. There is too muchparallelism of thought, word, and style be-tween the sonnets, Venus and Adonis, TheRape of Lucrece, Love's Labour's Lost, TheComedy of Errors, The Two Gentlemen ofVerona, Romeo and Juliet, King Henry VI,A Midsummer Night's Dream, King John,and other plays for there to be any doubton this point.

Somerset Maugham points out that in-volved expressions in letter writing do notpredicate involved play composition :". . . English prose is elaborate ratherthan simple . It was not always so. Nothingcould be more racy, straightforward andalive than the prose of Shakespeare ; but itmust be remembered that this was dialoguewritten to be spoken . We do not know howhe would have written if like Corneille hehad composed prefaces to his plays. It maybe that they would have been as euphuisticas the letters of Queen Elizabeth."

W HEN WOULD a busy queen have timeto write plays? We might well ask:

When would a busy actor, memorizingplay after play, have time to write? It is awell-known maxim that you go to a busyperson to get things done . The very factthat there are no plays with Elizabeth asauthoress creates the suspicion there mustbe hidden plays of hers . A born competi-tor, she was bound to experiment with ev-ery type of writing, and she surely wouldnot completely neglect the most popularnarrative medium of her age, namely, thedrama. She was keenly interested in the de-velopment of the play medium from themoralities through the blank verse of Gor-buduc and up through the finished productof the University Wits. She witnessed thebeginnings and gradual development of the

drama: she probably saw more plays thanany person in her time . She fought thePuritans to keep open the theatres . Eliza-beth liked what the people liked and whatShake-speare liked. John Middleton Murryexplains howshe made possible Elizabethandrama:

"In so far as Shakespeare had to please theCourt-which he had to do-it resolved intopleasing the Queen. Not because of themoney-reward earned by Court perform-ances, but because the very existence of theplayers directly depended upon the royal au-thority. It was the royal countenance whichenabled them to establish themselves in theoutskirts of London in spite of the bitter op-position of the puritan authorities of theCity. The queen liked to be amused, but shedid not like to pay for her amusement. Itwas a blessed conjuncture for the Eliza-bethan drama. The Privy Council issuedwarrants for the players during the plagueon the ground that 'they may be in the bet-ter readiness hereafter for her Majesty's ser-vice whensoever they shall thereupon becalled .'"To please the people, to please the

Queen, and to please himself-these werethe driving motives of the period of Shake-speare's career which culminated in Hamlet .And he was the kind of man to be able todo all at once : and the Queen was the kindof Queen to make it easy for him, becauseshe had fundamentally the same tastes as thepeople. She liked the plays they liked ; andthey liked the plays she liked-at bottom ."

We see in Shake-speare Elizabeth's twin .Their myriad intellects neither clashed nordiverged ; they always saw eye to eye. Thepolitical propaganda in the plays nevercame in for any act of censorship because itwas written °xactly as Elizabeth wouldwrite it . Their philosophy was the same,their religion was the same, their intensepatriotic devotion to England was the wine,their desire to instruct while amusing wasthe same . Tucker Brooke writes of Eliza-beth : "With whom are we to match her?With whom but with the man of Stratford,the greatest of all her subjects, her mightiestcolleague in building the age we know al-ternately by both their names? . . . Andat the end there are no better words to applyto Elizabeth than those Arnold addressedto her poet :

"'Others abide our question . Thou art free .We ask and ask: thou smilest and art still,Out-topping knowledge.' "

J. E. Neale writes, "Elizabeth had no in-tention of surrendering her powers, or ac-quiescing in men's views of women. Shehad a great longing, she said, `to do someact that would make her fame spreadabroad in her lifetime, and, after, occasionmemorial for ever.'" We are on firmground when we assume that Elizabeth, in

SEPTEMBER, 1956

PAGE 2 3

choosing a pen name, would use her fineintelligence to formulate a noin de plumethat would be appropriate and fitting, yetwould be ingenious enough to preserve hersecret until well after her death . It is verymuch like that thoughtful queen to do asthorough a job as possible inventing a fool-proof disguise for her authorship .

Elizabeth Tudor would no doubt havebeen pleased to have been able to followthe advice of Theodore Roosevelt to "talksoftly and carry a big stick," if she had beenpossessed of a big stick . The English of herday as well as the English of today wereopposed to a large standing army . Hernavy against the Spanish Armada was onlya handful of small vessels . She was bankingon the skill of her naval architects and thesuperior abilities of her great sea captainsto carry off the victory . Elizabeth ruled halfa small island with a total English popula-tion of about four million . Little wondershe found the only practical policy was to"tall : a good fight and run scared ." When

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Spain got tough she became chummy withFrance, and when France became quarrel-some she made overtures to Philip . AllFnglish sovereigns were perpetually in needof money . Elizabeth was no exception . Sheencouraged Sir Francis Drake to seizeSpain's homeward-bound gold ships andthen informed Philip that she simply couldnot control her pirate unerchanttnen . Thegreat Queen understood full well the Iu-tility of battle (exactly the same lesson ex-plained by Shake-speare in Troilus and

Cressida) and she would not go to war ifthere was any way to avoid the conflict .Elizabethan England would not have beena world power had it not been for theadroitness with which Elizabeth main-tained the balance of power in Europe, andshe did it by shaking-a-speare--that is tosay, she knew how to make a show ofstrength where a show of strength wasneeded and to keep one and all, even herPrivy Council, in doubt as to her next po-litical move . The pen name Shale-spearehad to be appropriate ; it was . Shake-spearehad to be subtle ; it was, as the passage oftime well testified . Shake-speare had toappear in the image of a flesh-and-bloodman of a similar name ; this was arranged .Shake-speare had to appear in the image ofa man, not a woman, because sixteenth-century England would never forgive tt

woman, let alone a queen, for writingdown-to-earth realism, and that was theway Elizabeth wanted to write . In orderto test the good and bad qualities of a play,the author must obtain a completely frankexpression of public opinion, which wouldonly be frank if the literary effort werewritten anonymously or under a pen name,if said author is some great personage . Evenin the nineteenth century, male prejudicebeing what it is, Mary Ann Evans Crossthought it best to write as George Eliot ;and Charlotte, Emily, and Ann Bronte asCutter Bell, Ellis Bell, and Acton Bell .

Brakspeare and Hurlspeare are warlikenames without a doubt. Shake-speare hasbeen called a warlike name, but when westop to analyze the verb-noun combination,Shake-speare is more appropriately thename of a statesman, a politician, a sov-ereign, and a writer . Elizabeth was, in thehighest sense, all four . To shake-a-speare,or to shake-the-speare, is in some instancesa show of strength, sometimes it is a threat ;in a broader sense it is a means of keepingthe other fellow guessing as to just whatyour intentions are . It is a means of keep-ing your opponent or opponents wonder-ing just how much strength you possess andjust how you will employ said Strength . Toshake a weapon is to write-or should wesay that to write is to shake a weapon and

that a powerful writer wields a powerfulweapon . The original sceptre Inay havebeen a speare ; at least a sceptre and a speareare similar shafts . In a speech before theHouse of Commons in 1586, Elizabeth hadthis to say : " . . . '1'hen to the end I mightmake the better progress in the art of sway-ing the sceptre 1 entered into long and seri-ous cogitation what things were worthyand fitting for kings to do ; and I found itwas most necessary that they should beabundantly furnished with those special vir-tues, justice, temperance, prudence, andmagnanimity, . . ."

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