Strato Dover Wilson unwittingly confirms Edward de Vere wrote Sonnets

Pembroke or Southamton. Either way doesn’t matter, letters show that Edward de Vere was trying to marry his daughter to both.

Even other Stratos agree Sonnets 1-17 are more likely addressed to the more handsome Southampton with his feminine looks. And Edward de Vere was more of a ‘father’ figure to Southampton.

We also know that Henry Wriothesley, pronounced ‘Rosely’, would later hang out with Vere’s son Henry like they were blood brothers – see the “Two Most Noble Henries” engraving.

Unwittingly, John Dover Wilson, is confirming for us that Edward de Vere wrote the Sonnets.

He refers to extant letters from him that date to just the right time (there are none at all from Guillem Shaksper because he was illiterate).

And Wilson also spotlights for us that Vere was very keen to push marriage of his daughter (no doubt because he was “lame, poor and despised” at the time):

“…Oxford realized how necessary it was to hurry the marriage…”

In a hurry enough for Vere to write the Sonnets to suck up to Southampton big time.

And we know particularly from J. Thomas Lōney’s approach to the investigation that Vere had the capability to write the complex Sonnets, so why would he bother with the Stratford guy.
That’s why when the Stratos try to fit Shaksper in here, without the fatherly link to Southampton, they raise the spectre that Shakespeare must have been homosexual.

Another strato, Kenneth Muir, notes in the history of the sonnet that after the work of Henry Howard, Earl of Surrey, known as the ‘Father  of the English Sonnet’ (just happens to be the uncle of you guessed it, Edward de Vere) not much happened for some time until along came “Hecatompathia – Passionate Centurie of Love” in 1582 supposedly by Thomas Watson (one of the Silexedra motley crew) but guess who the dedication is to, and who has his finger prints all over it (you guessed it again, Edward de Vere – in 1582 Vere was 32, Shaxper 18 and some 10 years away from coming to London). Indeed C.S. Lewis thought the erudite appended notes were more interesting than the sonnets. Oh, and need we say, no works were ever dedicated to the Stratford guy.

And Mark Anderson further notes (to p182): Eric Lewin Altschuler and William Jansen (“Poet describes stars in Milky Way before Galielleo,” Nature 428 [April 8, 2004] 601) point out that Watson’s Sonnet 31 is the first known description of the Milky Way as discrete stars – even predating Galileo’s discovery of the same [see below].

Hekatompathia’s Sonnet 31 (of some 100 love sonnets) with notes can be found at Astronomy & Geophysics:

…the oldest description of the discrete nature of the stars of the Milky Way, preceding Galileo’s discovery by nearly 30 years. The description is in lines 3–4 of Sonnet 31 of Hekatompathia (1582).

The Hekatompathia is a collection of 100 love sonnets, mostly 18 lines long, dedicated to Edward de Vere, 17th Earl of Oxford. The sonnets of Hekatompathia have always been most highly regarded, and are considered a model and forerunner for Shakespeare’s sonnets. The Hekatompathia sonnets are typically preceded by prefatory material and quotes from classical sources. The author or authors of the prefatory material is not known for certain, but Watson and/or Oxford seem the likely choices.

The opening comment of the prefatory material seems tongue-in-cheek given the revolutionary nature of what is to follow. Next it is made clear that the poem will discuss the heavenly Milky Way. The quotes from Ovid and Cicero seem to indicate that the make-up of the Milky Way is an age-old and worthy question that had not yet been answered. The denouement then comes in lines three and four of the sonnet. Lines five and six of the poem would seem to reinforce the extremely large, but discrete nature of the stars as components of the Milky Way, as does the word “recount” in line one. The word “farre” in line two may indicate prescient knowledge of the vast distance at which the Milky Way lies.

In general, astronomy seems to have been an important topic and interest for Watson/Vere: In Epistle 3 (lines 13–16) of his Amintae Gaudia (1592), he discusses the mechanism of lunar eclipse, and in Eclogue 4 of Amintae (lines 374–78) he makes a clear reference to the new star in Cassiopaea (SN 1572A).

A number of issues and questions arise from this poem, among them: (1) The English clearly had good optical instruments by 1582 and the ability to use them for distant viewing. This may have been helpful in the defeat of the Spanish Armada in 1588. (2) How did Watson/Vere know that the Milky Way was made up of a huge number of discrete stars? Regardless, this first description of the composition of  the Milky Way remains one of the most beautiful.

Sonnet 31

Prefatory Material

There needeth no annotation at all before this Passion, it is of it selfe so plaine, and easily convayed. Yet the unlearned may have this helpe given them by the way to know what Galaxia is, or Pactolus, which perchance they have not read off often in our vulgar Rimes. Galaxia (to omit both the Etimologie and what the Philosophers doe write thereof) is a white way or milky Circle in the heavens, which Ovid mentioneth in this manner.

Est via sublimis celo manifesta sereno

Lactea nomen habet, candore notabilis ipso.

[It is manifest high in clear Heaven, has the name the Milky Way, notable for its whiteness.]

(Metamorphoses I.168f)

And Cicero thus in somnio Scipionis;

Erat autem is spendidissimo candore inter flammas circulus elucens, quem
vos (ut a Graiis accepistis) orbem lacteum nuncupatis

[And Cicero thus in Scipio’s dream; There was also in the most splendid whiteness between the stars a circular figure shining forth, which you (as received from the Greeks) call the Milky Way.]

(de Republica VI. Xvi.)

Pactolus is a river in Lidia, which hath golden sandes under it, as Tibullus witnesseth in this verse,

Nec me regna iuvant, nec Lydius aurifer amnis.

[Neither a kingly realm, nor a gold-bearing river in Lydia delights me.]

(Tibullus III.iii, 29)

Sonnet 31

Who can recount the vertues of my deare,
Or say how farre her fame hath taken flight,
That can not tell how many starres appeare
In part of heav’n, which Galaxia hight,
  Or number all the moates in Phebus rayes,
  Or golden sandes, wheron Pactolus playes?
And yet my hurts enforce me to confesse,
In crystall breast she shrowdes a bloudy hart,
Unlessse betimes she cure my deadly smart:
  For nowe my life is double dying still,
 And she defamed by suffrance of such ill;
And till the time she helps me as she may,
Let no man undertake to tell my toyle,
But only such, as can distinctly say,
What Monsters Nilus breedes, or Affricke soyle;
  For if he doe his labour is but lost,
  Whilst I both frie and freeze twixt flame and frost.



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