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Rogues, Vagabonds and Sturdy Beggars

Rogues, Vagabonds and Sturdy Beggars

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Published by André Blas
A brief introduction to key points and background within the Shakespeare Authorship Mystery
A brief introduction to key points and background within the Shakespeare Authorship Mystery

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Categories:Types, Research
Published by: André Blas on Mar 22, 2013
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 Rogues V 
 agabonds and Sturdy Beggars
 
Brian Jarvis
 
Page
1
06/08/2003
 
“Rogues, Vagabonds and Sturdy Beggars” 
 
A brief introduction to key points and background within the
 
Shakespeare Authorship Mystery
 
Brian Jarvis 2003
 
I declare my viewpoint: SHAKSPERE was and is Shakespeare, but it’s not so simple.
Read on,
there’s more than meets the eye. And please don’t tag me Stratfordian or heretic.
This essay is offered to those coming to this greatest of Detective Stories for the first time.Each heading is really a kind of essay, so there is a repeat of some vie
wpoints though indifferent words. If I have an aim, as a layman, it is to help newcomers with this intriguing
Question and Mystery, and overall to pass on the good word: read Shakespeare, see andhear Shakespeare
“We are all players in the theatre of Self”
“Fair, kind and true is all my argument”
 
Sonnet 105
 
 Rogues V 
 agabonds and Sturdy Beggars
 
Brian Jarvis
 
Page
2
06/08/2003
 
“Rogues, Vagabonds and Sturdy Beggars” 
 
Title
It refers to the Vagrancy Act of 1572 which demanded that, among others, “Players inEnterludes” be under the protection and patronage of a baron or other honourablepersonage.
 
The Elizabethan Age saw the emergence of the English ‘Golden Age’ of literary
achievement. The medieval religious performances gave way to the rise of ‘modern’
Theatre... but the talented troupes of players that arose to break with the past and create
professionalism were held in low esteem.
 
CONTENTS
 
1.
Introduction: eulogies to greatness
2.
Barriers and Access to specific knowledge
 3.
Search for identity
 4.
The questions arise
 5.
Your choice of beliefs
 6. Candidates for S
hakespeare
 7.
Elizabethans and theatre
 8.
Shakspere’s early years, ‘Lost Years’
 9.
Does genius need to display ego?
 10.
Summing up: which theory?
 
“When all the breathers of this world are dead,
 
you still shall live” Sonnet 81
 
 
 Rogues V 
 agabonds and Sturdy Beggars
 
Brian Jarvis
 
Page
3
06/08/2003
 
1. Introduction: eulogies to greatness
Thirty
-
two eulogies were printed and published about Sir Francis Bacon when hedied in 1626, ten years after Shakespeare. The death of Shakespeare wasapparently marked by a resounding silence.Sir Francis, the Baron Verulam, probably deserved every word of praise. King James’
Lord Chancellor was known throughout Europe as a great and original mind, even a
genius, though posterity sees error in quite a few of his choicest ‘scientific’ reasonings.Shakespeare, today, is re
nowned around the world as the great dramatic poet and a
‘playmaker’ genius whose 36 plays (created over possibly a 27 year period; several morearguably attributed to him also) are now deservedly translated into more than 40 languages.No other nation h
as produced such a phenomenon. He is accepted as timeless and as
universal, “not for an age but for all time”. The greatness and the legacy speak forthemselves: comedy and humour, tragedy and pain, history and stirring declamations,
refinement and bawdi
ness, universality and evil, stupidity and sensitive perceptiveness ...and all played and depicted on the static, scenery
-
less stage. “Each play has its own
universe, its own pervading atmosphere, each one different to another” is one London
teacher’s insight into his Works. One theatre author of today believes that his flexibility of 
mind and the marvellous many
-
sided nature of his creative imagination is well displayed in
the Canon’s 12 contrasting themes, wide divergences of mood, and the writing
achievement over such a short period of time. Though in honest appraisal, the equallyknowledgeable in theatre and the literary world will murmur that not every part of everyplay is perfect, far from it; in fact, a “Shakespeare text” today is “an unstable, c
ontrived
product” having been through many intermediaries, with many departures from the
master’s original ‘first performance’ manuscript. The intriguing question is: just who
might he have collaborated with, especially in the early years (say 1585
-
1595).
Yet that silence, lack of public recognition at his Shakespeare’s death, irks some people
enormously. However, it was not a complete silence. Nor was it unusual.True, far from the repute given ‘poets’, the Theatre’s players and the emerging‘dramatists’ were still widely regarded as “persons of dubious standing” and “grovellers onthe stage” as the literary hierarchy had it. The talented aristocracy, close to the royalCourt, could not have written and published freely
-
poetry as Art, yes,but not be seenamong the newly
-
emerging play
-
makers, some of whom were respectably university
-
educated.There were many of talent “in private chambers that encloistered are”... but to write andpublish, on politics, rule, state secrets? The Secret Se
rvice which emerged also, with itssupposed, hidden ‘Department of Propaganda’, would have imposed itself with control and
censorship.
 
Progress was made in breaking down this ‘not poetry’ culture in 1616, with Ben Jonson’srather egocentric and bold printing and publication of his own Works, a mixture of playand poetry (this initiative helped towards recognition of some kind for all those workingwithin the newly
-
professional Theatre, besides countering Jonson’s non
-
universitybackground).
(Some thing
s then haven’t changed today: shout loud and the world listens
speedily after
Jonson’s death in 1637, his collected poems were published and he was buried in
Westminster Abbey; Shakespeare had to wait till 1740 for his statue there.)
 

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