For years, serious scholars of Shakespeare have simply refused to discuss the anti-Stratfordian theories that the plays were actually written by Francis Bacon, Edward DeVere, Christopher Marlowe or other possible candidates. As an academic in another field, I can certainly understand why. "Oh, you study archaeology? What do you think of 'Chariots of the Gods?' Was there an Ancient Apocalypse? Is there a stargate at Giza?" A student once handed me a paper based on Internet sources that argued seriously for that last one. I gave him a D- (for at least wanting to learn something) and a few tart comments about the importance of critical thinking. Unfortunately, however, ignoring these theories only fuels the suspicion that we professional academics are all in on a big conspiracy to conceal the truth.
Shapiro treats the various theorists with respect, reviews the basis for their claims, then demonstrates the flaws in the arguments, but without denigrating the seriousness or intelligence of the people who made them. He also and studies the intellectual climate that allowed these theories to take root: the near-deification of Shakespeare in the 18th century, followed by the rise of autobiographical prose and curiosity about what sort of person the poet "really was." Shakespeare's life is actually pretty well documented, but it doesn't present the kind of portrait people wanted, so they went hunting in the plays and poems for clues, and then for people whose life histories better matched what they wanted to believe about Shakespeare as a well-read, well-traveled, wise philosopher or brooding romantic hero.
Finally, Shapiro presents strong evidence for the authorship of the plays by the actor William Shakespeare from Avon, and offers some remarkable insight into the production and staging of a play in his time. Whoever wrote the Shakespearean plays must have been a theatrical professional, not a gentleman amateur. The playwright had to know which actors were available for the roles he was writing, and what their strengths were. If one actor was going to double in two parts, a fairly common procedure, the playwright had to allow enough time for costume changes between the actor's appearance as, say, Juliet's nurse and then as Friar Lawrence. He also had to know which actors he could hire in addition to the core of the troupe, and one group of those actors had a pretty rapid turnover -- the boys who played the roles of young women, because for obvious reasons, their careers were never more than two or three years long. He had to know what the boy actors available in any given year could and couldn't do. Could a 14 year old kid learn all the lines for a part like Rosalind and handle the pressure of a role like that? Yes? Good! Is there a Welsh boy in the troupe with a terrific singing voice? Great, give him a scene in Henry IV part 1 that will let him do his stuff, singing in Welsh, the audience will love it. Come to think of it, the much-analyzed Sonnet 20 could have been inspired by auditioning boy actors for female parts. "A woman's face with nature's own hand painted . . . " was exactly what they were looking for.
And here I am, doing exactly what Shapiro warned against -- putting myself into Shakespeare's shoes and imagining what he would have thought and done. I suppose the temptation is irresistible, but at least if you're going to do it, know something about the nuts and bolts of the Elizabethan and Jacobean theater. This book is a wonderful source of information on that subject.

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Contested Will: Who Wrote Shakespeare ?: Who Wrote Shakespeare ? Paperback – 19 January 2011
by
James Shapiro
(Author)
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From the bestselling and prizewinning author of 1599, an investigation into who wrote Shakespeare's plays.
For two hundred years after Shakespeare's death, no one thought to argue that somebody else had written his plays. Since then dozens of rival candidates - including Sir Francis Bacon and the Earl of Oxford - have been proposed as their true author. Contested Will unravels the mystery of when and why so many people began to question whether Shakespeare wrote the plays (among them such leading writers and artists as Sigmund Freud, Henry James, Mark Twain, Helen Keller, Orson Welles, and Sir Derek Jacobi).
Shakespeare scholar James Shapiro's fascinating search for the source of this controversy retraces a path strewn with fabricated documents, calls for trials, false claimants, concealed identity, bald-faced deception and a failure to grasp what could not be imagined. If Contested Will does not end the authorship question once and for all, it will nonetheless irrevocably change the nature of the debate by confronting what's really contested- are the plays and poems of Shakespeare autobiographical, and if so, do they hold the key to the question of who wrote them?
For two hundred years after Shakespeare's death, no one thought to argue that somebody else had written his plays. Since then dozens of rival candidates - including Sir Francis Bacon and the Earl of Oxford - have been proposed as their true author. Contested Will unravels the mystery of when and why so many people began to question whether Shakespeare wrote the plays (among them such leading writers and artists as Sigmund Freud, Henry James, Mark Twain, Helen Keller, Orson Welles, and Sir Derek Jacobi).
Shakespeare scholar James Shapiro's fascinating search for the source of this controversy retraces a path strewn with fabricated documents, calls for trials, false claimants, concealed identity, bald-faced deception and a failure to grasp what could not be imagined. If Contested Will does not end the authorship question once and for all, it will nonetheless irrevocably change the nature of the debate by confronting what's really contested- are the plays and poems of Shakespeare autobiographical, and if so, do they hold the key to the question of who wrote them?
- Print length384 pages
- LanguageEnglish
- PublisherFaber Paperback
- Publication date19 January 2011
- Dimensions13.1 x 2.4 x 20 cm
- ISBN-100571235778
- ISBN-13978-0571235773
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Product description
About the Author
Professor James Shapiro, who teaches at Columbia University in New York, is the author of Rival Playwrights, Shakespeare and the Jews, and Oberammergau- The Troubling Story of the World's Most Famous Passion Play. 1599- A Year in the Life of William Shakespeare won the BBC FOUR Samuel Johnson Prize in 2006.
Product details
- Publisher : Faber Paperback; 1st edition (19 January 2011)
- Language : English
- Paperback : 384 pages
- ISBN-10 : 0571235778
- ISBN-13 : 978-0571235773
- Dimensions : 13.1 x 2.4 x 20 cm
- Best Sellers Rank: 626,559 in Books (See Top 100 in Books)
- 512 in History & Criticism of Shakespeare
- 780 in History & Criticism of Drama & Plays
- 565,580 in Textbooks & Study Guides
- Customer Reviews:
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djb
5.0 out of 5 stars
Good read. Well written.
Reviewed in the United Kingdom on 28 December 2023Verified Purchase
Contested Will - James Shapiro. The story of the controversy as to whether Shakespeare wrote his plays or someone else. Good read. Well written. Intelligent and considered. Candidates and advocates are carefully reviewed before Shapiro makes the case for our man from Stratford.

William C. Mahaney
5.0 out of 5 stars
The Last Word on Who Wrote Shakespeare
Reviewed in Canada on 5 April 2021Verified Purchase
Shapiro-‘Contested Will-Who Wrote Shakespeare’
As with ‘A Year in the Life of William Shakespeare’, James Shapiro has produced a well-researched work on the question of the authenticity of Shakespeare’s plays and sonnets. Did the great bard write all that is attributed to him or did someone else produce the grand artistry we attribute to him. That question lay dormant for nearly two centuries, resurrected in the late 18th Century, and gathered considerable steam in the 19th and 20th centuries. That Shakespeare poached ideas from previous historical works and plays is without question, as Shapiro is quick to acknowledge. Playwrights were prone to do that in the 16th Century and subsequent times. What is original with Shakespeare is that he saw an artistic aspect to previous work, such that he could improve upon to bring forth a new script with closer attention to social events and fears of the time, writing lines fine-tuned to the audience, and to his players’ strengths. All of Shakespeare focused on the mores and politics of the time, the latter sharply attuned to the censors who had to approve texts before they could be performed in theater. For example, in ‘As you like it’, Shakespeare took the main character, Rosalind, cross-dressed her as Ganymede, and let her carry on a complex dialog with Orlando (her lover), to such an extent she got more lines than Cleopatra. And in the climax of the play Rosalind approached and carried on a dialog with the audience, a shocking first for Elizabethan playgoers. Thus, the ‘Rosalind’ of a previous play by Thomas Lodge, some 20-odd years earlier, was greatly enhanced to show that ‘love’ for whatever it is supposed to be is partly but acting upon a stage. Hence, ‘The world’s a stage, and all the men and women merely players’, is taken to mean ‘love’ and ‘lie’ tend to go hand-in-hand, something Elizabethan audiences, as today, could identify with. Later, Shapiro guides the reader through a wide road of conspiracies, some calling into play Shakespeare’s lack of travel experience, his minimal education in Stratford, lack of university training, lost years of roughly 1580-1589, speculation of his involvement with rural playing companies prior to landing in London, at about 1590, breaking into a career as actor and playwright, almost with a meteoric impact on the contemporary scene. Early on Francis Bacon was thought to have written some or most of his plays, alongside Christopher Marlow, and others. Yet Ben Jonson, a stellar playwright of Shakespeare’s time and after praised him as unequalled among actors and playwrights, and this, from a coeval witness and competitor to the eminent bard. Despite such accolades, conspiracies multiplied in later years. They were fostered by a distant relative of Bacon, Delia Bacon, who along with Mark Twain, Helen Keller, Sigmund Freud, and Henry James claimed that Shakespeare could not possibly have written all that was attributed to him, and perhaps none of it. Previously, even Samuel Johnson, questioned Shakespeare’s authenticity, although not his presence as an actor in 16th and early 17th century England. Conspiracies, linked to forgeries, deceptions of one kind or another, many linked to his presumed autodidactic learning, all failed to understand the boundless literary imagination of one of the great English writers of all time. Shapiro brings the reader around to follow a reasoned appreciation of Shakespeare as the qualified and uncontested author of his work, although in some cases co-authored with some of his peers.
W.C. Mahaney, author of: ‘Ice on the Equator – Quaternary Geology of Mount Kenya, East Africa’, ‘Atlas of Sand Grain Surface Textures and Applications’, and 'Hannibal's Odyssey: The Environmental Background to the Alpine Invasion of Italia".
As with ‘A Year in the Life of William Shakespeare’, James Shapiro has produced a well-researched work on the question of the authenticity of Shakespeare’s plays and sonnets. Did the great bard write all that is attributed to him or did someone else produce the grand artistry we attribute to him. That question lay dormant for nearly two centuries, resurrected in the late 18th Century, and gathered considerable steam in the 19th and 20th centuries. That Shakespeare poached ideas from previous historical works and plays is without question, as Shapiro is quick to acknowledge. Playwrights were prone to do that in the 16th Century and subsequent times. What is original with Shakespeare is that he saw an artistic aspect to previous work, such that he could improve upon to bring forth a new script with closer attention to social events and fears of the time, writing lines fine-tuned to the audience, and to his players’ strengths. All of Shakespeare focused on the mores and politics of the time, the latter sharply attuned to the censors who had to approve texts before they could be performed in theater. For example, in ‘As you like it’, Shakespeare took the main character, Rosalind, cross-dressed her as Ganymede, and let her carry on a complex dialog with Orlando (her lover), to such an extent she got more lines than Cleopatra. And in the climax of the play Rosalind approached and carried on a dialog with the audience, a shocking first for Elizabethan playgoers. Thus, the ‘Rosalind’ of a previous play by Thomas Lodge, some 20-odd years earlier, was greatly enhanced to show that ‘love’ for whatever it is supposed to be is partly but acting upon a stage. Hence, ‘The world’s a stage, and all the men and women merely players’, is taken to mean ‘love’ and ‘lie’ tend to go hand-in-hand, something Elizabethan audiences, as today, could identify with. Later, Shapiro guides the reader through a wide road of conspiracies, some calling into play Shakespeare’s lack of travel experience, his minimal education in Stratford, lack of university training, lost years of roughly 1580-1589, speculation of his involvement with rural playing companies prior to landing in London, at about 1590, breaking into a career as actor and playwright, almost with a meteoric impact on the contemporary scene. Early on Francis Bacon was thought to have written some or most of his plays, alongside Christopher Marlow, and others. Yet Ben Jonson, a stellar playwright of Shakespeare’s time and after praised him as unequalled among actors and playwrights, and this, from a coeval witness and competitor to the eminent bard. Despite such accolades, conspiracies multiplied in later years. They were fostered by a distant relative of Bacon, Delia Bacon, who along with Mark Twain, Helen Keller, Sigmund Freud, and Henry James claimed that Shakespeare could not possibly have written all that was attributed to him, and perhaps none of it. Previously, even Samuel Johnson, questioned Shakespeare’s authenticity, although not his presence as an actor in 16th and early 17th century England. Conspiracies, linked to forgeries, deceptions of one kind or another, many linked to his presumed autodidactic learning, all failed to understand the boundless literary imagination of one of the great English writers of all time. Shapiro brings the reader around to follow a reasoned appreciation of Shakespeare as the qualified and uncontested author of his work, although in some cases co-authored with some of his peers.
W.C. Mahaney, author of: ‘Ice on the Equator – Quaternary Geology of Mount Kenya, East Africa’, ‘Atlas of Sand Grain Surface Textures and Applications’, and 'Hannibal's Odyssey: The Environmental Background to the Alpine Invasion of Italia".

Francis Benoit
5.0 out of 5 stars
Super ouvrage !
Reviewed in France on 12 November 2017Verified Purchase
Ouvrage à traduire dès que possible en français car il traite de Shakespeare, évidemment, mais aussi de notre culture via les sommets de la littérature mondiale (Homère, le Christianisme, la Bible,...).
Livre Passionnant en vrai !
Livre Passionnant en vrai !

Peter Berlin
5.0 out of 5 stars
Shakespeare wrote Shakespeare
Reviewed in Germany on 26 April 2012Verified Purchase
Shakespeare wrote Shakespeare: Shapiro wrote a very detailed – and fascinating – overview on a topic that has people fascinated for the last 150 years. Were the Shakespeare plays really written by the swan of Stratford? Shapiro makes a very convincing case they were. He proves that during Shakespeare’s lifetime nobody doubted his authorship nor did anyone for the next 200 years. Only in the 19th century did people begin to doubt that the country bumbkin from Strafford could really have written these wonderful plays. We know way too little about Shakespeare the man and so specuation knows no bounds.
People just couldn’t imagine how someone with as little education as Shakespeare had – probably just grammar school in his hometown – could write all these great plays that have stood the test of time for 400 years now. Could someone write plays that include references to so many areas of knowledge and not have much official education? People in the 19th century decided that only an aristocrat like The Earl of Oxford, Edmund de Vere could have done that. Even though he died in 1604 and quite a few Shakespeare plays were first staged years after his death many people found that easier to believe than accept the authorship of a man about whom we basically only know that he grew up in the countryside.
Shapiro’s book is very well written and quite convincing – to me there is no doubt that he has proven Shakespeare’s authorship.
People just couldn’t imagine how someone with as little education as Shakespeare had – probably just grammar school in his hometown – could write all these great plays that have stood the test of time for 400 years now. Could someone write plays that include references to so many areas of knowledge and not have much official education? People in the 19th century decided that only an aristocrat like The Earl of Oxford, Edmund de Vere could have done that. Even though he died in 1604 and quite a few Shakespeare plays were first staged years after his death many people found that easier to believe than accept the authorship of a man about whom we basically only know that he grew up in the countryside.
Shapiro’s book is very well written and quite convincing – to me there is no doubt that he has proven Shakespeare’s authorship.
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