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  • Re: Falsification of ancient history; the case of "Shakespeare"

    (1811)
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  • tlefranc10
    Sep 7
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    I do not know if this question has been posed: could some secret Islamic groups or individuals have played a subversive role behind the scene in the "West" in the last few centuries? This is perhaps the case of Guénon himself but could it have happened before the twentieth century, during the "Renaissance" and even the "Middle Ages"?  Regarding Guénon, nowadays only three – different yet how similar in their core nature – groups "claim ownership" of him: Islamic, Christian fundamentalist/Gnostics and Masonic groups.
     
    For what they are worth, below are two interesting quotations from historian Edwin Johnson on "Shakespeare", taken from his book "The Rise of English Culture", a most revisionist and anti-Church writing, whose core thesis is that the Church, along with a part of the nobility, enslaved England for centuries, first by the sword and, then, from the end of the fifteenth century on, when the sword began to be not enough, with literary falsification in order to make good in literature the position that they had had, i. e. "to organize men in the service of interested fable".

    "The studious reader will gather from this volume that the Period of the Tudors was not only a time of severe repression but also a time when free speech was impossible. Able men could only dissemble and speak in allegory. The plays of Shakespeare and other writers are doubtless a reflection of the period; the names but a disguise - the playwriters merely the spokesmen of those who would have been sent to the Tower and the Block if they had expressed their opinions openly."

    "Hayward, writing about the same time, continues to beg the critical question, and to write Histories of English kings in the dramatic spirit of Livy. Sir Richard Baker (1568-1645) in his Chronicles offers us a most entertaining narrative, distinguished by its fine vigorous English style. Baker is a good classical scholar, but critical habits are foreign to his mind. His sources are, as usual, chiefly, Benedictine, Gildas, and the rest. But at last it appears that Brute and his creator have had their day? A distaste for Geoffrey of Monmouth has set in; for it is no distaste for incredible stories, as such, that induces the denial of Brute. Baker is full of curious tales, which he either relishes himself or serves up for the delectation of the prototypes of Sir Roger de Coverley. And while he is full of vulgar wonder, he is indifferent towards objects that may well excite intelligent wonder; that is, the great intellectual achievement of his own time. It is impossible to read without a smile his account of the great men who flourished in the reign of Queen Elizabeth. After a list of names that have now become obscure or forgotten, he mentions the actors Alleyne and Burbage with high praise. But the mere playwrights Benjamin Jonson and William Shakespeare receive a cold compliment at the end of his list. Whenever the legend of Shakespeare shall be thoroughly examined, this passage should receive more special attention."

    The question of the identity of "Shakespeare" is not entirely devoid of interest because it remains a falsification, which can be enlightening on other "non artistic", graver falsifications.
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