Shakespeare is NOT Bacon

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(The graphic above should say “Empiricism,” not “Empirism.”  Ir is a typo.

Yes, Sir Francis Bacon is at least as interesting and obscure as William Shakespeare.  But let me assure you, I can confidently state, “Shakespeare is NOT Bacon!”  He is not eggs either… or any other breakfast food.  Sir Francis Bacon was the breakfast, the first meal in the great Elizabethan banquet of literature, poetry, and culture.  And William Shakespeare is a more important main course, the royal dinner, as it were.  But it has to be acknowledged that Bacon was essential to the very existence of William Shakespeare.  Breakfast always comes before dinner.

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In 1845 a female author by the name of Delia Bacon (nothing suspicious about that coincidence, by the way) put forward an idea that William Shakespeare’s plays were actually written by a group of men under the leadership of Sir Francis Bacon.  She thought the group intended to inculcate into English culture an advanced system of politics and philosophy which they themselves could not take credit for publicly.  She would later write a book in 1857 called The Philosophy of the Plays of Shakspere Unfolded which advanced the notion that the plays were written for Baconian purposes beyond mere theatrical entertainment.  Numerous people, including the American poet Ralph Waldo Emerson supported her in her quest to find proof, sending her to England to research the crazy conspiracy theories she founded by noting ciphers in the plays, and in the essays of Bacon, that led her to believe all she had to do was dig up the gravestone of Shaksper in the chapel at Stratford to find written proof in Bacon’s own hand that he was, in fact, the author or primary motivator of the plays of William Shakespeare.  She spent one cold and creepy night in the chapel, just her and her spade and her crow bar, along with the bones of the Stratford guy, trying to work up the courage to do a bit of grave-robbing… and failing.    It is a good story, but very poor archaeology.  She was denounced by the literary historians and establishment figures who supported the Stratford guy.  They said her scholarship was sloppy, her cipher analysis goofy and unfounded, and her conclusions more questionable than a pig in theatrical make-up.  (My words, not theirs.  English critic George Henry Townsend was entirely too stuffy and boring to simply be quoted here.)

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Now, I, of course, strongly disagree with the Bacon lady.  As I said in the very title, “Shakespeare is NOT Bacon.”  But I do think there was merit in sniffing out old Frankie’s scent and fingerprints on the whole Shakespeare/Shaksper thing.  The Stratford guy was not Shakespeare either.  When he died in 1616 there was no public outcry at the loss of England’s most popular poet and playwright.  Even King James who was Shakespeare’s number one fan and constant audience member, didn’t mourn the passing of the actor/theater-owner/businessman from Stratford.

Francis Bacon, on the other hand, was a powerful intellect, educated in the ways of science, the law, and government in the Elizabethan age.  Bacon gathered other men of powerful intellect and accomplishment at Gray’s Inn to hold debates about things philosophical and things scientifical.  It is not unreasonable to imagine that the man who really wrote the plays attributed to Shakespeare sat at that table and participated in those debates.  And Sir Frankie had good reason to keep lots of this business a secret.  There exists evidence that though he was apparently happily married to a fourteen-year-old girl, he did a little bit of swaying toward the other gender too, a thing not too popular with the average Anglican Englishman.  He also dabbled a bit in the occult (think witches in Macbeth sort of thing).   And his essays indicate a strong correlation to the philosophies and ideals of the German Rosicrucian Movement.  In 1593 during a Roman Catholic plot against Queen Elizabeth, Frankie managed to take a position on the investigation that totally offended the old virgin queen.  He was on the outs with Liz for the rest of her difficult and anger-management-challenged life.  He did rise to prominence under her successor, James I, but never-the-less managed to die amidst total ruin and scandal.  There is a lot in Frankie’s life to indicate that he had a direct influence on the content of Shakespeare’s plays.  Some of the characters in the plays may actually be, at least in part, based on Frankie himself.  But  this guy never hung out with the Stratford guy that anyone knows of.

So, if Shakespeare is NOT Bacon, or eggs either… and the Stratford guy isn’t Shakespeare, then who is?  Come on!  You knew I had a lot more to say about this crazy conspiracy thing, right?

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Portraits With Big Eyes

I have long been an artist addicted to large, luminous eyes. I have long been accused of drawing too much like I am a Japanese anime or manga artist. Point taken. I was first inspired to draw characters like the ones in Astroboy which I was addicted to in the 1960s.

I know the big eyes can be overdone. They make a character like Big-eyed Benny above look positively alien. E.T. phone home style of stuff. But they can also be extra expressive. And many child faces do indeed have eyes that are more like a doe deer than a human. These lend a vulnerable quality of open-faced cuteness, an endearing quality that activates parental instincts.

And, some of these drawings that I do, portraits made from faces in the Walmart catalog or from Instagram, are actually started with a tracing layer laid atop the photograph. Here the eyes may have been exaggerated a little because I can’t help myself, but they are basically the same as the subject of the portrait. This girl does goofy comedy and dances on Instagram and has a really infectious grin that I can’t even begin to draw accurately.

But the result of this big-eyed obsession of mine all comes down to the fact that I have been retired from teaching now for an entire decade. I retired in 2014. And I miss working with kids. So much it hurts. Maybe I can’t make them laugh and learn anything anymore. But I can remember them as an artist. Drawing comes more from the heart than it does from the pen anyway.

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The Heart of Shakespeare

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Despite my skepticism about the accepted wisdom in regard to the historical William Shakespeare, I do deeply love the body of work that is Shakespeare.  My most favorite play is The Tempest, the final play in the canon.  I also have read and loved As You Like It, Romeo and Juliet, Hamlet, A Midsummer Night’s Dream, The Merchant of Venice, Henry V, Richard III, Julius Caesar, Macbeth, Othello,  and King Lear.  I know that is not all of the plays, but that is probably more than most people have read.  And of course, as an English major in college, and later as a teacher, I have actually analyzed, compared, studied, and taught some of these plays.  So, the Shakespeare I know is the Shakespeare of the writer’s own mind, his communicated wit and wisdom, imagination and intellect.

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And I do not have any disdain or disrespect to give the Stratford guy.  To say that, in the Elizabethan world, the actor son of a tradesman with only a grammar school education could not have been the mind behind the literary masterworks is foolish.  The Stratford guy owned and operated the Globe theater at a time when “the play was the thing”.  All of London society, rich and poor, gloried in the theater, and Shakespeare did for Elizabethan plays what Babe Ruth did for baseball.  He was a good enough business man to make himself a decent fortune.  Although, apparently, this world-shaking author didn’t spend any of his money on owning books, which in my experience is extremely rare among writers.  His life, bound up in an urban existence that never traveled outside of the country also somehow produced great works that were set in places in Europe, especially Italy, that described those settings in accurate detail.  As a working actor, he also apparently had the time to study law and somehow learn the inner workings of the royal courts of more than one country.  And the plots were not original.  He took existing stories that already were a part of European literature and lore and wove them into rich tapestries of human striving, laughable foibles, and a deep understanding of basic human character.  But I do have doubts that the businessman and actor from Stratford was the real writer of the plays.

I have already told you that I don’t believe Sir Francis Bacon was secretly Shakespeare.  Christopher Marlowe wasn’t either.  And I have unsuccessfully made a case against Shakspere, the Stratford guy.  So who could possibly be the real William Shakespeare?  Well, I am not going to be able to make a decent case for him in the 100 words that I have left to end this essay with.  So there has to be more to come.  (And stop screaming obscenities at the computer screen.  I am going to reveal the name before the end of this essay.  And I promise not to make my case for him in coming days too boring and horrible.)  I have to show why I believe that the true heart of Shakespeare could only have beaten within the body of Edward deVere, the Earl of Oxford.

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Shakespeare Knows Fools

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The fact that Shakespeare was a master of the art of creating and mocking fools does not really help decide the question of who Shakespeare really was.  A stage actor who owned a theater in Elizabethan times and apparently focused on being the bit player, the butler, the second man on the castle wall in the great plays, would certainly know enough of flim-flam, being a con man, or artfully throwing turds at kings and queens in ways that get rewarded rather than beheaded.  But a nobleman who has unpopular and unwelcome-but-probably-wise insights into the back-stabbing-goings-on of the royal court of England would equally be capable of putting the most memorable of critiques of humanity into the mouth of the fool or the clown in the great stage-play of life.  Even the most depressing and violent of Shakespearean tragedies is enhanced and made pointed by the presence of the fool and the comic relief.  In some ways, everything that Shakespeare wrote was a comedy.

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Whoever Shakespeare was, he shared Mark Twain’s overall assessment of “That damned human race” and often declared all men fools in the eyes of the playwright.  Puck’s observation on humanity is delivered about not only Bottom and the other poor players who carry on their vain attempts at performing Pyramus and Thisbe while Bottom magically wears the head of an ass, but also the easily fooled lovers who mistake their true loves for one another, and even the clueless mortal King Theseus of Athens.

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In the play within a play, Nick Bottom wants to be not only his own role, Pyramus the romantic lead, but argues that he should be Thisbe, the lion, and Pyramus all at once, making a satire of human nature and its overreaching ways that we could only pray Donald Trump will one day watch and magically understand.  In fact, Shakespeare’s entire body of work is an extended investigation of foolishness versus wisdom, and with Shakespeare, the verdict always goes to the fool.

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The plays of William Shakespeare are filled with fools doing foolish things… and fools being accidentally wise. (Think Jacques in As You Like It giving his famous “All the world’s a stage” soliloquy in which he elucidates the seven ages of man.)  There are fools too who prove to be wise.  (Think of the ironic advice given by the jester Touchstone in As You Like It, or the pithy commentary of King Lear’s fool).  The fools in Shakespeare’s work are not merely the comedy relief, but the main point that Shakespeare makes about humanity.

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Whoever the man was who wrote the plays of Shakespeare, he was someone who had a deep understanding of the basic irony underlying all of human life.  And someone with that vital sense of the bittersweet, a philosophy of life that encompasses the highest heights and lowest depths that a soul can reach, is someone who has suffered as well as known great joy, someone who has experienced loss as often as profit, and has known real love as well as real hatred.  It is the fool that Shakespeare shakes us by the neck with to make us recognize the fool in all of us which makes the plays resonate so deeply within us.  It is watching the path of the fool unfolding that makes us shake our head and say to ourselves, “Yes, that is what life is really like.”

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How To Write A Mickian Essay

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I know the last thing you would ever consider doing is to take up writing essays like these.  What kind of a moronic bingo-boingo clown wants to take everything he or she knows, put it in a high-speed blender and turn it all into idea milkshakes?

But I was a writing teacher for many years.  And now, being retired and having no students to yell at when my blood pressure gets high, the urge to teach it again is overwhelming.

So, here goes…

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Once you have picked the silly, pointless, or semi-obnoxious idea you want to shape the essay around, you have to write a lead.  A lead is the attention-grabbing device or booby-trap for readers that will draw them into your essay.  In a Mickian essay, whose purpose is to entertain, or possibly bore you in a mildly amusing manner, or cause you enough brain damage to make you want to send me money (this last possibility never seems to work, but I thought I’d throw it in there just in case), the lead is usually a  “surpriser”, something so amazingly dumb or off-the-wall crazy that you just have to read, at least a little bit, to find out if this writer is really that insane or what.  The rest of the intro paragraph that is not part of the lead may be used to draw things together to suggest the essay is not simply a chaotic mass of silly words in random order.  It can point the reader down the jungle path that he or she can take to come out of the other end of the essay alive.

Once started on this insane quest to build an essay that will strangle the senses and mix up the mind of the reader, you have to carry out the plan in three or four body paragraphs.  This is where you have to use those bricks of brainiac bull-puckie that you have saved up to be the concrete details in the framework of the main rooms of the little idea-house you are constructing.  If you were to number or label these main rooms, this one you are reading now would, for example, be Room #2, or B, or “the second body paragraph”.  And as you read this paragraph, you should be thinking in the voice of your favorite English teacher of all time.  The three main rooms in this example idea house are beginning, middle, and end.  You could also call them introduction, body, and conclusion.  These are the rooms of your idea house that the reader will live in during his or her brief stay (assuming they don’t run out of the house screaming after seeing the clutter in the entryway).

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The last thing you have to do is the concluding paragraph.  (Of course, you have to realize that we are not actually there yet in this essay.  This is Room C in the smelly chickenhouse of this essay, the third body paragraph.)  The escape hatch on the essay that may potentially explode into fireworks of thoughts, daydreams, or plans for something better to do with your life than a read an essay written by an insane former middle school English teacher at any moment, is a necessary part of the whole process.  This is where you have to remind them of what the essay is basically about, and leave them with the thought that you want to haunt them in their nightmares later.  The last thing that you say in the essay is the thing they are the most likely to remember.  So you need to save the best for last.

So, here, finally, is the exit door to this masterfully mixed-up Mickian Essay.  It is a simple, and straightforward structure.  The introduction containing the lead is followed by three or four body paragraphs that develop the idea and end in a conclusion that summarizes or simply restates the overall main idea.  And now you know why all of my former students either know how to construct an essay, or have several years left in therapy sessions with a psychiatrist.

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Edwin Arlington Robinson, the Sardonic Poet

Born in Maine a boy, when his parents wanted a girl,

They took a full six months before they gave his name a whirl,

And they drew Edwin from a hat drawn by a man from Arlington Maine

And the remainder of his life, “Edwin Arlington Robinson,” gave the poor boy a pain.

And as he grew into a man of letters, he wrote some fine poems at school,

But the woman he most loved in life married his brother, a fool.

And so, he showed a pessimist, in poetry ever mocking and darkly cruel.

And Pulitzers he won three times, the man could write a jewel.

To write such poems as Robinson’s, you must learn what “sardonic” means,

And suffer a lot in crisply-writ verse that tastes mostly like baked beans.

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Okay, I know this evil Mickey poem does not do E.A. Robinson justice. He was a fine master of verse-craft. It has been said (by an Iowa State American Literature professor, so I know it must be true) that Robinson, when asked what he did one day, said, “I studied my poem all day, and then added a comma.”

Surprised by the answer, the questioner then asked what he did the next day. ”I studied the poem all day again, and took the comma out.”

Recently I read his book of poetry called The Children of the Night. It is a fine book of sardonic poems (here meaning; poems that are mocking, pessimistic, and cynical… in case you didn’t look up “sardonic.”) He often writes in this book poems about Thomas Hardy and the poems written by Matthew Arnold and other dusty old writers of the late and early 20th centuries. So, I have given old E.A. the same honor in Mickey’s book of poems as he gave them.

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Exploring the Mind of Mickey

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One really weird thing that teachers do is think about thinking.  I mean, how can a person actually teach someone else how to think and how to learn if they don’t themselves understand the underlying processes?  Now that I have retired from teaching and spend all my time feeling sorry for myself, I thought I would try thinking about thinking one more time at least.  Hey, just because I am retired, it doesn’t mean I can’t still do some of the weird things I used to do as a teacher, right?

This time I made a map to aid me in my quest to follow the twists and turns of how Mickey thinks and how Mickey learns.  Don’t worry, though.  I didn’t actually cut Mickey’s head in half to be able to make this map.  I used the magical tool of imagination.  Some folks might call it story-telling… or bald-face lying.

Now, a brain surgeon would be concerned that my brain maps out in boxes.  He would identify it as a seriously deformed brain.  It is not supposed to be all rectangular spaces and stairs.  It probably indicates a severe medical need for corrective surgery… or possibly complete amputation.  But we are not going to concern ourselves with trying to save Mickey from himself right now.  That is far too complex a topic to tackle in a 500-word daily post.  We are just discussing the basics of operation.

You see the three little guys in the control room?  They are an indication that not only did I steal an idea from the Disney/Pixar Movie Inside Out, but I apparently have too few guys doing the job up there compared to the movie version.  (It probably makes sense though that a young girl like the one in the movie has a much more sensible configuration in her brain than someone who was a middle school teacher for 24 years.  Seriously, that job can do a bit of damage.)  The three little guys are not actually Moe, Curly, and Larry, though that wouldn’t be far from descriptive accuracy.  They are Impulsive Ignatz, currently in the driver’s seat (or else I wouldn’t be writing this), Proper Percy the Planner, and Pompositous Felixian Checkerbob, the fact-checker and perfectionist (also labeled the inner nerd… I am told not everyone has one of these).  They are the three little guys that run around in frantic circles in my head trying to deal with a constant flow of input and output, trying to make sense of everything, and routinely failing miserably.

I shouldn’t forget the other two little guys in my head, Sleepytime Tim in the Dream Center, and little Batty up in the attic.  I have no earthly idea how either of them function, or what in the heck they are supposed to do.  But there they are.  The other three run up and down stairs all day, locating magic mushrooms and random knowledge in the many file cabinets, record collections, book stacks, and odd greasy containers that are stored all around in the many nooks and crannies of Mickey’s mind.  They collect stuff through the eyes and ears, and it is also their responsibility to chuck things out through the stupidity broadcaster at various inopportune times.  It is also a good idea for them to avoid the lizard brain of the limbic system in the basement.  It is easily angered and might eat them.

So now you should be able to fully understand how Mickey thinks.  (Or not… a qualifier I was forced to put in by Checkerbob.)

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The Uncritical Critic Watches Another Quirky Movie

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Yesterday was a weird day.  If you looked carefully at the mental map I made of Mickey’s head the other day, you realize that Uncle Slappy’s Big Box of Weirdness occupies a key position in the top center.  I had a traffic accident in the parking lot of Long Middle School yesterday morning, banging bumpers with a lady named Vilma.  The sun was in my eyes, and she started to go, then suddenly stopped for no reason I could see.  No damage was done to anything but my pride.  My wife put her parents, Tatang and Inang, on an airplane yesterday bound for the Philippine Islands, going home for a visit.  Afterwards, my wife was feeling mortal, betting me that she was going to die before me even though I have the head start of six incurable diseases and surviving cancer once already.  There are no symptoms for her impending heart attack, so I will probably win that bet.  But the point is, it was a weird time yesterday to stumble weirdly over a weird and wacky movie on Netflix called Moonrise Kingdom.  It is a Romeo and Juliet sort of story about two twelve-year-olds who fall in love at first sight, and though their families try to keep them apart, they end up together.  Thankfully it is not a Shakespearian Tragedy where everybody dies at the end, though Sam is struck by lightning and the big storm nearly drowns all the boy scouts.  It is more like a Shakespearian Comedy where everybody gets married at the end, though the twelve-year-olds don’t get married at the end… rather, they are married by the middle.

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Wes Anderson is the genius director behind movies like;

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None of which I have seen, but now have to watch ALL of them sooner or later.  Kinda like the mad quest to see every Tim Burton movie ever made.  I am one of the few idiots out there who think Dark Shadows was a truly wonderful movie, and along with Edward Scissor-hands, one of the finest things Johnny Depp has ever done.

In Moonrise Kingdom Anderson uses tracking shots at the beginning that shift quickly from one room to the next in a way that invokes an old-time slide show.  The story is set in 1965 in Maine, and is filled with all kinds of iconic references to things we 60’s kids all vividly recall.

The movie also tells the love story of Sam and Suzy with a painter’s sense of iconic pictures that focus you on important plot points and themes.

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And there are numerous quotable bits that make the movie what we teachers refer to as a text-rich environment, complete with phony kids’ books and maps and notes.

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The all-star cast is pretty good, too.

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This is now one of my new favorite movies.  It is a happy-ending-type fairy tale with no fairies in it.  It is full of ineffectual and incompetent adults who have rules of behavior like grown-ups and motivations like goofy kids… just like real life.  The plot is driven by the notion that anything you do in life is a mistake, and mistakes have consequences, but you have to do them anyway because, well… that’s life.

Am I telling you that you should watch this movie too?  Well, you should… but, no.  I am simply gushing about this quirky movie because I like it, and yesterday was a very weird day.

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At the Beach in My Imagination

It is cold and wet here in Texas. It makes me go somewhere else in my mind. I choose a beach in the cooler parts of Summer. A nude beach like the UFO Beach at South Padre Island.

It is interesting with digital art tools how you can make more than one picture with the various layers you create to make a digital artwork.

While it is a nude beach in my imagination, I really like this swimsuit I created… and it is an underaged girl I am drawing. You can never be too careful.

The crying boy who was the goal of my many-layered picture is crying because the story I wrote today breaks my heart to tell. It was not only at the nude beach but was about families who lost a family member in a school shooting. The incident in the story is fictional, but the story was inspired by the Uvalde tragedy. I have to cry one more time. Sorry about that.

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Krazy Kat

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I told you before about a cartoonist from ancient ‘Toon Times” named Fontaine Fox.  He was a master, and I acknowledge him as one of my greatest inspirations.  But he was not the original master mentor for my teenage ‘Toon Training”.  That honor goes to the inestimable George Herriman.  He was the Krazy Kartoonist who died more than a decade before I was born, yet, through his Kreation, Krazy Kat, did more to warp my artistic bent into Krazy Kartooniana Mania than anybody else.  I discovered him first.  I found him through Komic books and the Kard Katalog at the local library.  I own a copy of the book I pictured first in this post.  It is the first Kartoon book I ever bought.  I couldn’t post a picture of my actual book here because I have read it so often in the past forty years that the Kover has Kome off.  It is now more of folder of loose pages than a book.

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Krazy Kat is a newspaper Komic strip that ran all around the world from 1913 to 1944.  Comics Journal would rate Krazy Kat as the greatest work of Komic art of the 20th Century.  Art critics hailed it as serious art, and it fits snugly into the surrealist movement of Salvador Dali and others.  It has been cited as a major influence on the work of other artists such as Will Eisner, Charles M. Schulz, Robert Crumb, Art Spiegelman, Bill Watterson, and Chris Ware.

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The centerpiece of the strip is a love triangle.  Krazy Kat the Kharacter is a feline who may be female or may be male but is definitely deeply in love with Ignatz Mouse.  The Krazed rodent hopped up on seriously stinky fromage (cheese to us non-French speakers), is Konstantly throwing bricks at Krazy’s head… obviously out of serious disdain, however, Krazy sees it as a confession of love.  Offisa Pup, the police watchdog, wants to jail the malevolent mouse for battery and protect the precious Kat, whom he obviously loves with an unrequited love.  Explanations are superfluous in the weird world of Krazy Kat.  How can I explain the charm, the humor, the good-natured violence of a strip such as this?  There are echoes of it in Tom and Jerry animated cartoons, but nothing like it really exists anywhere else.  Krazy has her own unique language, a language that you naturally learn to interpret as you read the strip.  Ignatz exhibits psychotic frustrations that he takes out on the world around him in our name, that we might experience hubris at his expense.  And what’s with that mysterious sack of “Tiger Tea” that Krazy carries about and keeps a Klosely guarded “sekrit”?

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I honestly hope you will give Krazy Kat a thorough “look-see”.  Because if you like Kartoons at all… and it doesn’t have to be the Krazy Kooky love of a seriously overdosed addict like me… you will fall desperately in love with this one.   It is a world of its own, a superbly superfluous abstract anachronism.  It is a surrealist’s dream of fun with puns and tons of buns… or something like that.  Simply put… read it and don’t like it… I dare you!

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