Simply asking, 'Who was Shakespeare?', this book comes up with surprising conclusions. It offers a trail that leads to a very different person from the Stratford actor. It contains insights into the plays and poems, and into the English Renaissance that followed the final break with Rome.

(Applause Books). "With the single exception of Homer, there is no eminent writer, not even Sir Walter Scott, whom I can despise so entirely as I despise Shakespeare when I measure my mind against his." - From SHAW ON SHAKESPEARE Celebrated playwright, critic and essayist George Bernard Shaw was more like the Elizabethan master that he would ever admit. Both men were intristic dramatists who shared a rich and abiding respect for the stage. Shakespeare was the produce of a tempestuous and enlightening era under the reign of his patron, Queen Elizabeth I; while G.B.S. reflected the racy and risque spirt of the late 19th century as the champion of modern drama by playwrights like Ibsen, and, later, himself. Culled from Shaw's reviews, prefaces, letters to actors and critics, and other writings, SHAW ON SHAKESPEARE offers a fascinating and unforgettable portrait of the 16th century playwright by his most outspoken critic. This is a witty and provocative classic that combines Shaw's prodigious critical acumen with a superlative prose style second to none (except, perhaps, Shakespeare!).

This Companion represents the myriad ways of thinking about the remarkable achievement of Shakespeare’s sonnets. An authoritative reference guide and extended introduction to Shakespeare’s sonnets. Contains more than 20 newly-commissioned essays by both established and younger scholars. Considers the form, sequence, content, literary context, editing and printing of the sonnets. Shows how the sonnets provide a mirror in which cultures can read their own critical biases. Informed by the latest theoretical, cultural and archival work.

It is long overdue that someone took a closer look at the brilliant Mary Sidney. I have a suspicion that Mary Sidney’s life, and especially her dedication to the English language after her brother’s death, may throw important light on the mysterious authorship of the Shakespeare plays and poems. —Mark Rylance Actor; Artistic Director of Shakespeare’s Globe Theatre, 1996–2006; Chairman of the Shakespearean Authorship Trust For more than two hundred years, a growing number of researchers have questioned whether the man named William Shakespeare actually wrote the works attributed to him. There is no paper trail for William Shakespeare—no record that he was ever paid for writing, nothing in his handwriting but a few signatures on legal documents, no evidence of his presence in the royal court except as an actor in his later years, no confirmation of his involvement in the literary circles of the time. With so little information about this man—and even less evidence connecting him to the plays and sonnets—what can and what can’t we assume about the author of the greatest works of the English language? For the first time, Robin P. Williams presents an in-depth inquiry into the possibility that Mary Sidney Herbert, the Countess of Pembroke, wrote the works attributed to the man named William Shakespeare. As well educated as Queen Elizabeth I, this woman was at the forefront of the literary movement in England, yet not allowed to write for the public stage. But that’s just the beginning . . . The first question I am asked by curious freshmen in my Shakespeare course is always, “Who wrote these plays anyway?” Now, because of Robin Williams’ rigorous scholarship and artful sleuthing, Mary Sidney Herbert will forever have to be mentioned as a possible author of the Shakespeare canon. Sweet Swan of Avon doesn’t pretend to put the matter to rest, but simply shows how completely reasonable the authorship controversy is, and how the idea of a female playwright surprisingly answers more Shakespearean conundrums than it creates... —Cynthia Lee Katona Professor of Shakespeare and Women’s Studies, Ohlone College; Author of Book Savvy

This book stands with respect on the shoulders of four centuries of Francis Bacon’s biographers, referencing historical and cipher inquiries about his noble person and transcendent body of work, but pushing further to ask: Did his vision for the ages, the Great Instauration, die with him? The premise of the fine, foregoing biographies has been to discern and explain the secrets of a great, historic personality, perhaps the world’s greatest genius, from a fixed birthdate to a fixed date of death. The less conventional premise of this book is to explain the context of the life of the person, Francis Bacon, as one crucial chapter within a long continuity of lifetimes, yet unending. Francis, and those closest to him, manifested the beginning of the Great Instauration in the form of an extraordinary array of civilization-building services, sacrificially, under persecution, for the love of humanity and the latent divinity within the people. Francis’ conclave of literary men saw themselves as brothers, demonstrating a constructive vision and true charity, outside the churches which had suppressed as heresy what the people needed to know about nature and themselves. How did twelve-year old Francis see the need and then generate the beneficial concept of the Great Instauration, meaning the restoration of a golden age of abundance, a paradise lost? This would require prior knowledge and likely actual engagement in such a civilization. Why was it lost? Why did he persevere under Job-like trials to produce a legacy of enlightenment he knew would only bear fruit long after his passing? And, is a soul of this magnitude lost forever to humanity at his passing? None of these questions can be answered entirely by original source documents, especially when for safety’s sake Francis deliberately hid or obscured the records of that lifetime. To answer the questions, the scope of Elizabeth Clare Prophet’s biography of Francis Bacon honors the existing body of documented research and then necessarily expands the lens of discovery to summarize a continuous chain of prior lives, the lifestream of this soul.

"The Shakespeare Code reveals the astounding true story of codes concealed in the works of Shakespeare and other writers of his time. For over 250 years, the codes went undiscovered. And more than one person suffered severely for daring to speak the secrets they contain. The codes reveal an explosive story—the hidden marriage of Elizabeth, the “Virgin Queen,” murder and scandal, corruption and lies at the highest levels. Virginia Fellows’ fascinating and endearing tale weaves together the facts and history of the controversy, deception, and mystery. She unfolds the true life story of Francis Bacon as the rejected prince, son of Elizabeth, as encrypted in the writings attributed to Shakespeare. These secrets could not be told in Bacon’s own time, so he concealed them in code, hoping for a future when it would be discovered, when men could be free to speak and know the truth. Fellows’ exhaustive research includes a nineteenth-century “cipher wheel,” still in existence today. Photos of the 100-year-old device are included in the book."

Shakespeare's plays, argues Lings, concern far more than the workings of the human psyche; they are sacred, visionary works that, through the use of esoteric symbol and form, mirror the passage the soul must make to reach its final sacred union with the divine.

This book challenges a longstanding and deeply ingrained belief in Shakespearean studies that The Tempest--long supposed to be Shakespeare's last play--was not written until 1611. In the course of investigating this proposition, which has not received the critical inquiry it deserves, a number of subsidiary and closely related interpretative puzzles come sharply into focus. These include the play's sources of New World imagery; its festival symbolism and structure; its relationship to William Strachey's True Reportory account of the 1609 Bermuda wreck of the Sea Venture (not published until 1625)--and the tangled history of how and why scholars have for so long misunderstood these matters. Publication of some preliminary elements of the authors' arguments in leading Shakespearean journals (starting in 2007) ignited a controversy that became part of the critical history. This book presents the case in full for the first time.