The Shakespeare Deception Part 2
There is a lack of documentary and circumstantial evidence that supports William Shakespeare of Stratford-upon-Avon being the author of the works published in his name. Additionally, the vast knowledge reflected in Shakespeare’s works seems
There is a lack of documentary and circumstantial evidence that supports William Shakespeare of Stratford-upon-Avon being the author of the works published in his name. Additionally, the vast knowledge reflected in Shakespeare’s works seems inconsistent with his limited life experience and education.
In contrast, there is compelling evidence for Edward de Vere, the 17th Earl of Oxford, as the true author of Shakespeare’s plays. In a recent essay, Lies are Unbekoming presented evidence which supports the claim that de Vere’s life offers a more plausible explanation for the depth and complexity of the Shakespearean canon.
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The following is an essay by Lies are Unbekoming titled ‘The Shakespeare Deception: Authorship, Empire and Manufactured Myths’. We have split the essay into 5 parts. Below is the second part. You can read Part 1 HERE. We will be publishing additional parts in subsequent days. If you would like to read the essay in one sitting, you can read it on Substack HERE.
The Shakespeare Deception: Authorship, Empire and Manufactured Myths Part 2
II. The Case Against William Shakespeare of Stratford
A. The Documentary Void
The man we call Shakespeare exists more as an absence than a presence in the historical record. While his contemporaries left behind correspondence, manuscripts and libraries, William Shakespeare of Stratford-upon-Avon left behind a void so complete it defies explanation. Not a single book bearing his name or annotations. Not one letter to or from him discussing his literary work. Not even a note in his own hand beyond six tortured signatures, each spelt differently – Shakp, Shakspē, Shakspēr, Shakspere, Shakspeare – suggesting a man uncomfortable with a pen, possibly even with his own name.
His will, that most personal of documents, reveals the outline of a provincial businessman, not a literary giant. He catalogues his possessions with the care of a merchant: properties in Stratford, shares in theatres, a silver bowl, that infamous “second best bed” for his wife. But where are the manuscripts that should have been his most valuable possessions? Where is his library, which should have contained the hundreds of source texts scholars have identified in his plays? They don’t exist because he never owned them.
The silence extends to his family. His parents, John and Mary Shakespeare, signed documents with marks – they couldn’t write their names. His daughters Judith and Susanna, despite their father supposedly being the greatest writer in the English language, couldn’t read or write. His granddaughter Elizabeth followed suit. This would be like discovering that Einstein’s children couldn’t add, that Mozart’s daughters had never touched a piano. It defies not just probability but human nature itself.
B. The Impossible Knowledge Gap
The Shakespeare plays demonstrate mastery across an impossible range of human knowledge. They employ a vocabulary of over 31,000 words – twice that of the typical educated Elizabethan. They reveal intimate familiarity with court protocols, legal procedures, military tactics, falconry, medicine, astronomy, classical literature in multiple languages and the geography of places the Stratford man never visited. The Italian plays read like travelogues, complete with local customs, proper travel routes between cities and details only a resident would know.
Yet William Shakespeare’s life, what little we know of it, reveals none of this learning. There’s no record of his attending school, though apologists insist he must have gone to the Stratford grammar school. Even if he had, the curriculum – basic Latin, arithmetic and religious instruction – couldn’t account for the encyclopaedic knowledge displayed in the plays. He never left England, never even travelled beyond the London-Stratford route, yet his plays roam from Denmark to Venice with the confidence of personal experience.
The orthodox explanation relies entirely on that magical word: genius. Shakespeare, we’re told, simply absorbed everything through mysterious osmosis, crafting perfect depictions of places he’d never seen, citing books he’d never owned, describing court intrigues he’d never witnessed. This isn’t just improbable; it’s impossible. Genius amplifies education and experience – it doesn’t replace them. The cognitive dissonance required to maintain this fiction has corrupted Shakespeare scholarship for centuries, forcing otherwise rational scholars to make increasingly absurd claims to defend the indefensible.
III. The Compelling Case for Edward de Vere
A. The Biographical Mirror
When we turn from William Shakespeare to Edward de Vere, 17th Earl of Oxford, the plays suddenly snap into focus. They become not timeless abstractions but the concrete expression of a particular life – a life whose every twist and trauma appears reflected in the canon. The evidence is so overwhelming that once seen, it cannot be unseen.
Consider Hamlet, that most personal of the plays. The melancholy prince, mourning his dead father, trapped in the Danish court, accidentally killing his girlfriend’s meddling father – this is Edward de Vere’s autobiography in Danish dress. De Vere’s father died when he was twelve, leaving him a ward of the court under the control of William Cecil, Lord Burghley. Scholars have long recognised that Polonius, the meddling advisor in Hamlet, is a direct satire of Burghley, down to his pompous precepts and his habit of hiring spies to watch his son. But only in de Vere’s biography does this make sense: Burghley was his guardian, and de Vere was forced to marry Burghley’s daughter Anne – the unfortunate Ophelia of the play, trapped between her father and her lover.
The parallels multiply beyond coincidence. In 1576, returning from his Italian sojourn, de Vere’s ship was attacked by pirates who stripped him of his possessions and left him naked on the shore – exactly what happens to Hamlet. De Vere was involved in violent street battles with his mistress’s family that left two dead – the very scenario of Romeo and Juliet. He was captured by pirates, he killed a man in a duel, he was accused of homosexuality, he believed his wife had been unfaithful – all these biographical details appear transformed into dramatic art.
Most tellingly, de Vere stopped publishing poetry under his own name in 1593, precisely when “Shakespeare” began appearing on published works. It’s as if one literary voice fell silent just as another was born – because they were the same voice.
B. The Educational and Cultural Match
De Vere’s education reads like a curriculum designed to produce the works of Shakespeare. From age four, he was immersed in classical languages and literature. His uncle, Arthur Golding, was translating Ovid’s Metamorphoses while tutoring young Edward – and this specific translation became Shakespeare’s favourite source, referenced hundreds of times throughout the plays. His other uncle, Henry Howard, Earl of Surrey, literally invented the English sonnet form that Shakespeare would perfect. The boy was surrounded by the very foundations of what would become the Shakespearean canon.
The physical evidence is even more compelling. De Vere’s Geneva Bible survives to this day, filled with his handwritten annotations. Over 200 passages he underlined appear directly in Shakespeare’s plays. This isn’t just influence – it’s the writer’s workbook, the source material from which the plays were crafted. No such books exist for William Shakespeare because William Shakespeare owned no books.
De Vere’s year in Italy from 1575-1576 solves one of the great mysteries of Shakespeare scholarship: how did the author know Italy so well? De Vere lived in Venice, travelled to Verona, Padua, Mantua and Florence – precisely the cities where Shakespeare set his Italian plays. He learned Italian, absorbed the commedia dell’arte tradition that shapes the comedies, and even brought an Italian servant back to England. When Shakespeare describes the trip from Verona to Milan or the Jewish ghetto in Venice, he’s not imagining – he’s remembering.
C. The Court Insider Perspective
The Shakespeare plays reveal an insider’s knowledge of Elizabethan court life that no common player could have possessed. They know which lords were feuding, which ladies were rumoured to be the Queen’s rivals, which courtiers had embarrassing secrets. They reference specific court masques, diplomatic missions and private jokes that only circulated among the nobility. This isn’t knowledge that can be picked up in a tavern or glimpsed from the players’ gallery – it requires living within the court’s innermost circles.
De Vere didn’t just visit the court; he was raised in it from age twelve. He was the Queen’s ward, her sometime favourite, her occasional dancing partner. He knew every major figure personally – the very people who appear thinly disguised in the plays. When Shakespeare mocks the affectations of courtiers or reveals the private hypocrisies of nobles, he’s writing from decades of direct observation.
This insider status also explains why the plays had to be pseudonymous. The Elizabethan court was deadly for writers who offended power. Christopher Marlowe was murdered by government agents after being arrested for blasphemy. Ben Jonson was imprisoned for sedition after mocking the Queen in a play. For de Vere to openly claim authorship of plays that satirised his guardian, revealed court secrets and criticised royal policy would have been suicide – literal, not professional. The pseudonym wasn’t just convenient; it was necessary for survival.
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