Bacon and Shakspere

Nonfiction, Religion & Spirituality, New Age, History, Fiction & Literature
Cover of the book Bacon and Shakspere by William Henry Burr, Library of Alexandria
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: William Henry Burr ISBN: 9781465546166
Publisher: Library of Alexandria Publication: March 8, 2015
Imprint: Language: English
Author: William Henry Burr
ISBN: 9781465546166
Publisher: Library of Alexandria
Publication: March 8, 2015
Imprint:
Language: English

NO TRUE LIKENESS OF SHAKSPERE The likeness of Shakspere in the Folio of 1623 has frequently been called “an abominable libel on humanity.” And yet its fidelity is certified by Ben Jonson in laudatory lines. Jonson was Bacon’s friend and enthusiastic admirer. If there was an original portrait of that wooden face it has never been found. If there was a better likeness of Shakspere in existence why was it not reproduced in that famous Folio? The same ugly engraving reappeared in all the later editions up tu 1685. The bust on the monument at Stratford was first noticed in 1623. It was not taken from life, and is unlike any picture of Shakspere. It presents him in the act of composition, and “the vis comica", says Boaden, “so broadens his countenance, that it is hardly a stretch of fancy to suppose him in the actual creation of Falstaff himself.” More likely, we should say, Falltaff was Shakspere—Fall-staff, Shake-spear. The most familiar pictures of Shakspere are very different from either of these, and generally far more intellectual and refined. They are pretended copies of what is called the Chandos portrait, but are not much like it. The Chandos picture was painted by an unknown artist, and has been altered by a later hand. It is said to have been owned by Sir William Davenant, who died in 1668; and he is said to have obtained it from an actor named Joseph Taylor, who died about 1653 at the age of 70. This we gather from Boaden’s “Portraits of Shakspere,” 1824. But now comes a further statement purporting to be written in Mr. Gunther’s Folio, by one Charles Lomax,, in 1781, as follows: “The only original picture now extant of Shakespeare was painted by Joseph Taylor, one of the actors,” &c

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

NO TRUE LIKENESS OF SHAKSPERE The likeness of Shakspere in the Folio of 1623 has frequently been called “an abominable libel on humanity.” And yet its fidelity is certified by Ben Jonson in laudatory lines. Jonson was Bacon’s friend and enthusiastic admirer. If there was an original portrait of that wooden face it has never been found. If there was a better likeness of Shakspere in existence why was it not reproduced in that famous Folio? The same ugly engraving reappeared in all the later editions up tu 1685. The bust on the monument at Stratford was first noticed in 1623. It was not taken from life, and is unlike any picture of Shakspere. It presents him in the act of composition, and “the vis comica", says Boaden, “so broadens his countenance, that it is hardly a stretch of fancy to suppose him in the actual creation of Falstaff himself.” More likely, we should say, Falltaff was Shakspere—Fall-staff, Shake-spear. The most familiar pictures of Shakspere are very different from either of these, and generally far more intellectual and refined. They are pretended copies of what is called the Chandos portrait, but are not much like it. The Chandos picture was painted by an unknown artist, and has been altered by a later hand. It is said to have been owned by Sir William Davenant, who died in 1668; and he is said to have obtained it from an actor named Joseph Taylor, who died about 1653 at the age of 70. This we gather from Boaden’s “Portraits of Shakspere,” 1824. But now comes a further statement purporting to be written in Mr. Gunther’s Folio, by one Charles Lomax,, in 1781, as follows: “The only original picture now extant of Shakespeare was painted by Joseph Taylor, one of the actors,” &c

More books from Library of Alexandria

Cover of the book A Little Girl in Old Philadelphia by William Henry Burr
Cover of the book The Hundredth Chance by William Henry Burr
Cover of the book Americanism Contrasted with Foreignism, Romanism and Bogus Democracy in the Light of Reason, History and Scripture; In which Certain Demagogues in Tennessee, and Elsewhere are Shown Up in Their True Colors by William Henry Burr
Cover of the book The History of the City of Fredericksburg, Virginia by William Henry Burr
Cover of the book Great Opera Stories: Taken from Original Sources in Old German by William Henry Burr
Cover of the book Critical Miscellanies: Robespierre, Carlyle, Byron, Emerson, Vauvenargues, Turgot, Condorcet, On Popular Culture, The Death of Mr Mill, The Life of George Eliot, On Pattison's Memoirs, Harriet Martineau, W.R. Greg, France in the Eighteenth Century by William Henry Burr
Cover of the book The Sand-Reckoner of Archimedes by William Henry Burr
Cover of the book The Way to Nirvana by William Henry Burr
Cover of the book Mediaeval Socialism by William Henry Burr
Cover of the book Carnet d'un inconnu (Stépantchikovo) by William Henry Burr
Cover of the book The Weird Sisters: A Romance (Complete) by William Henry Burr
Cover of the book The Druid Path by William Henry Burr
Cover of the book Curiosities of Impecuniosity by William Henry Burr
Cover of the book Market Harborough and Inside the Bar by William Henry Burr
Cover of the book Abandonment: Absolute Surrender to Divine Providence by William Henry Burr
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy