Domain Of Man

General Category => Shakespeare & Tudor England => Topic started by: Chuck-Star on January 23, 2010, 02:04:45 AM

Title: New Book - How to Read Shakespeare Like A Royal
Post by: Chuck-Star on January 23, 2010, 02:04:45 AM
**** Now a Full-Length Book on Shakespeare ****

Google Book:


The Shakespearean playwright(s) new far too much about English history, European royal history, and about the complex relationships between the various royal courts of the day.  Authorship by the Elizabethan Court is therefore discernible based on content alone, that is, by what the plays revealed and even more importantly, what they "threatened" to reveal about international royal affairs.  One of the most significant (and surprising) functions of the plays was to act as a type of "Defense Program" for Queen Elizabeth's throne against her European rivals.  However, the plays also served to instill solidarity to the members of the Elizabethan Court, and to inspire the English people as well.  The plays accomplished all of this without coming across as pedantic.  The plays were not merely great works of literature, but a brilliant expression of Elizabethan foreign and domestic policy!
4th / 5th Century

Shakespeare’s Titus Andronicus:
(Inter-related Royal Families of Rome and the Goths) ( ( (

The Holy Roman Empire as a neo-Goth/German Dynasty: (

12th/13th Centuries (Plantagenet England)

Shakespeare’s King John
(The Historical Bombshell of Genghis Khan);id=13399;id=13397

15th / 16th Centuries (Medici Renaissance & Tudor England)

Shakespeare’s Midsummer Night’s Dream ( (;id=13401

Shakespeare’s Merchant of Venice ( (

Medici Family Patterned after Roman 2nd Century Bassianus Dynasty ( ( ( (

Medici Power Base in Persia and Mughal India (

Othello:  The Holy Roman and Ottoman Dual Empire ( ( (

Shakespeare spilled the beans on the "two-timing" (Christian-Islamic) Byzantine royal family:;id=13370;id=13372;id=13373;id=13367;id=13366;id=13340;id=13427;id=13321;id=13515

17th Century (Stewart England)

Shakespeare's Hamlet, Elizabeth’s Weapon Against Holy Roman Revenge ( ( (

Twelfth Night, Elizabeth Spurns the Medici for King James (

As You Like It, Elizabeth’s (Failed) Grooming of Lord Essex ( (

“The Spanish Tragedy” (
Cid Hamnet and Don Quixote (

Shakespeare Authorship (General)
Supreme Court Justice Rules on Shakespeare Authorship (
Michael Wood's book and DVD, "In Search of Shakespeare” (
Hamnet, Son of Shakespeare (
Cide Hamete Benengli and Don Quixote (

Shakespeare the Atheist/Humanist? ( (

Shakespeare the Feminist? (

Shakespeare the Closet Catholic? (

“Atwill-Hudson Theory” ( (

Title: Re: Shakespeare as Commentary on Royal History and Politics
Post by: Ronald L. Hughes on February 08, 2010, 11:40:57 PM
RE, Bissianus, etc.

Charles, does this name seem to suggest "Bysant?, or "Bezant / Bizant", as in Byzantium, or Byzantine?



[Ron, don't know if a linguistic argument can be made, but I'm sure the geographical analogy was not lost upon Constantine.  Byzantium was to Rome as the Bassanius branch of the royal family had earlier been to the Roman.  East and West were ruled by one family, in Constantine's time and in former times.  That much hadn't changed.  -Charles]

Title: Was Queen Elizabeth the Shrew?
Post by: Chuck-Star on March 17, 2015, 11:54:31 PM
The Taming of the Shrew is not one of the plays I have done a detailed analysis on (yet), however the interpretation is straightforward enough.  With respect to the Pope and the Holy Roman Empire, Queen Elizabeth was a "shrew" by virtue of her continued defiance of them.  The play in as much admits this, yet it also projects her heart's desire is to be a reconciled and faithful partner within the larger royal network.

I came across this interesting discussion on the question of Elizabeth playing the shrew.

The knee-jerk reaction (of certain responders) was: how could one even suggest such a thing?  Wouldn't this have been tantamount to treason and blasphemy in 16th Century England?  Not necessarily so.  When one sees the Shakespeare plays as a product of the Elizabethan royal court, such an interpretation not only becomes possible but unavoidable.  The plays are expressions of foreign policy, as well as being highly didactic for English courtiers and commoners alike.  The plays accomplish this "multi-level marketing" magnificently, and without coming across the least bit pedantic.