Joined in 2023 
82 
63 About this deal
William and Anne also had twins, Judith and Hamnet, who were baptized on February 2, 1585. Hamnet died at age 11 and a half. Judith married Thomas Quiney in 1616, and the couple had three sons: Shakespeare Quiney, who died in infancy, and Richard and Thomas, who both died in 1639 within a month of each other. Since neither of the boys married, there is no possibility of any legitimate descendants from Shakespeare’s line.
Mitchell, Forest L. and Lasswell, James L., A Dazzle of Dragonflies (College Station, Texas: Texas A&M University Press, 2005) But now it seems the mystery has been solved. A groundbreaking discovery means we finally know at least how Shakespeare wanted to be seen. Horace Walpole, 4th Earl of Orford (1717-1797), was the fourth son of Sir Robert Walpole. A prominent antiquarian, art historian and Gothic novelist, he was descended from a family of Catholic recusants and martyrs. Walpole was also related to Francis Seymour-Conway, 2nd Marquess of Hertford. According to Langston’s account of How Shakespeare’s Skull was Stolen and Found, it was at Ragley Hall, Lord Hertford’s Palladian mansion near Alcester, that Dr Frank Chambers was inspired to steal Shakespeare’s skull: Walpole had apparently offered 300 guineas to anyone who could bring him the skull of William Shakespeare. The principal witnesses against its authenticity are a respected antiquarian who left an eyewitness description of the original monument, an eighteenth-century artist whose engraving is the first to depict a writer in it, and a famous painter who called it “a silly smiling thing.” The evidence includes the letters of a Stratford curate who protests far too much about how he “refurbished” it, his mention of a mysterious “Heath the carver” whose role has not heretofore been sufficiently recognized, and the records of those who at various times complained of the wear and tear on a monument that today looks like it has survived over four centuries untouched by time. Underlying the faulty rationale of orthodoxy is a mistaken standard of accuracy. The bust was installed during the lifetime of his widow, two daughters, and his son- in-law. Anne ShakespeareIn 1930, E.K. Chambers alleged, in an uncharacteristic overstatement (probably based on a reading of Spielmann), that other illustrations in Dugdale’s book also “completely misrepresent the originals.” Citing Stopes and Greenwood, he concludes, “But the whole theory seems to me a mare’s nest [and] incredible that the monument should ever have resembled Dugdale’s engraving” (2:185). He describes the Hollar engraving well enough, but does not show it. pullquote]Another sign of Dugdale’s peculiar reticence is the title he gave to Hollar’s engraving in his book. It does not identify the monument as Shakespeare’s. It says simply: “In the North wall of the Chancell is this Monument fixt.”[/pullquote] William Shakespeare has been commemorated in a number of different statues and memorials around the world, notably his funerary monument in Stratford-upon-Avon (c. 1623); a statue in Poets' Corner in Westminster Abbey, London, designed by William Kent and executed by Peter Scheemakers (1740); [1] and a statue in New York's Central Park by John Quincy Adams Ward (1872). [2] [3] 17th century [ edit ] Shakespeare's funerary monument William Shakespeare statue". New York City Department of Parks & Recreation. 12 February 2007 . Retrieved 22 October 2008. A statue made from tin was erected in the gardens outside the Festival Theatre, the principal theatre on the grounds of the Stratford Shakespeare Festival, held every year from April to November in Stratford, Ontario, Canada.
Yes, William’s father, John Shakespeare, was granted a coat of arms in 1596. It was disputed in 1602 by York Herald, Ralph Brooke, saying that the arms were too similar to existing coats of arms, and that the family was unworthy. However, the challenge was unsuccessful, as the Shakespeare coat of arms appears in later heraldic collections and on William Shakespeare’s funeral monument in Holy Trinity Church, Stratford-upon-Avon. Does Shakespeare have descendants? Most Stratfordian biographers avoid the issue, among them: Stephen Greenblatt (2004), and notably in his collected works of Shakespeare for Norton (1997), Michael Wood (2003), Park Honan (1998), and Stanley Wells (1995). None mentions Dugdale’s sketch or the engraving that Hollar made from it for Dugdale’s book, even though Dugdale’s sketch is the earliest eye-witness evidence of what the monument looked like. Dugdale was also the first to transcribe the abstruse epitaph on the monument. Stratfordian biographers, however, rarely try to explain what it means, even though it, too, is primary source evidence suggesting what contemporaries thought about the man for whom it was written and engraved. Evidently, they do not want to confront what the effigy and the epitaph might reveal about his identity. One thing more in reference to this ancient town is observable, that it gave birth and sepulture to our late famous poet Will. Shakespere, whose monument I have inserted in my discourse of the church. (523)Hamper, William, ed. The Life, Diary and Correspondence of Sir William Dugdale. London: Harding, 1827. A decade later, James West, an antiquarian friend and sometime patron, seems to have asked Greene about some irregularity of features, an “unnatural distance in the face” in the mask (mold) that he made. Greene responds that he made the mask with “Heath the carver” when they took the bust down and laid it on the floor. Defensively, Greene says the mask “answers exactly to our original bust” and is a “thorough resemblance” to the Droeshout engraving in the First Folio (77).
Her research also links the effigy to monuments that were then specifically connected with Oxford. The figure is wearing an Oxford University undergraduate’s gown, and the cushion detail is found in monuments memorialising lives of distinction in its college chapels. An authoritative version of Shakespeare’s texts naturally created the expectation that such texts – and only such texts – would be used in theatrical performance. Indeed, most 18th-century theatre managers believed that Shakespeare’s plays no longer needed to be heavily adapted for performance. Some of the playwright’s words could be cut to keep the performance to a reasonable length; but words written by others should not be added to the original script. Mark Brown, ‘A New View: is this the real Shakespeare?’, Guardian (10 March 2009) < http://www.theguardian.com/culture/2009/mar/10/shakespeare-cobbe-portrait> [Accessed 12 March 2014]. Stirling, Simon, Who Killed William Shakespeare? The Murderer, The Motive, The Means (Stroud: The History Press, 2013) The surface of the skull is a little bumpier over the left eyebrow than it is over the right. An expert of my acquaintance assures me that this happens where there is an absence of fatty tissue. We all have these fatty deposits in our eyebrows, and the fact that it appears to be missing from half of the left eyebrow would indicate the presence of scar tissue. This may be why Shakespeare’s left eyebrow is often portrayed as drooping or swollen – there was a deep scar on or immediately above his left eyebrow, and it had been there for many years before he died.Among the last plays that Shakespeare worked on was The Two Noble Kinsmen, which he wrote with a frequent collaborator, John Fletcher, most likely in 1613. He died on April 23, 1616—the traditional date of his birthday, though his precise birthdate is unknown. We also do not know the cause of his death. His brother-in-law had died a week earlier, which could imply infectious disease, but Shakespeare’s health may have had a longer decline.
Great Deal 
New Comment