WILLIAM SHAKESPEARE is the most celebrated and most read poet and dramatist in history, but his personal life and artistic life is a mystery. How did he obtain the extensive learning and experience displayed in his works? When were his plays written and why were his works so often pirated by printers? Although publicly lauded during his lifetime, why was Shakespeare's death not noticed by those in the literary world near the time that it had occurred? These are only a few problems that the Shakespeare professor cannot answer definitively after two centuries of scholarship.
Much contemporary evidence, however, is available that can shed light on many of these problems -- evidence that gets ignored because it does not fit the experts' picture of Shakespeare. This evidence overwhelmingly indicates that 'William Shakespeare' was the great author's pen name, and that he was a nobleman. It shows that he wrote decades earlier than believed, and initially for the private entertainment of Queen Elizabeth I and her court.
The pen name idea is easy enough to grasp, but it becomes more complex and tangled by the fact that there was another man, christened 'William Shakspere', who lived during the same period. A resident of Stratford-upon-Avon, this man was involved in acting companies and theaters in London. Not one shred of evidence, however, proves the 'Stratford Man' was the great author during his lifetime, and neither he nor his descendents ever made such a claim. These two very different men merged into one identity after both of their deaths, and it was no accident, as this book will explain.
The lack of hard facts about Shakespeare and his career has caused the experts to write biographies full of fiction and fantasy. Those who love and appreciate Shakespeare deserve better. Fully documented, Shakespeare Suppressed is a valuable resource for those who want to learn the unadulterated truth about Shakespeare and his works. The book debunks the experts' case for the Stratford Man as the great author, and exposes the misleading preface of the First Folio. Features an appendix detailing 93 'too early' allusions to the plays that destroy orthodox composition dates, and 27 plates.