Much Ado About Nothing: Shakespeare Illuminated

[@duncanmckeown1292]

Great! It's amazing how those "problem" plays become less of a problem when you insert the Oxford factor. Since I embraced this viewpoint...one dark day during the covid pandemic listening to Alexander Waugh...Shakespeare has mutated from something tedious I had to endure in high school into the road that leads to satori! Thank you Michael Delahoyde...and Edward de Vere!

[@rtubeyou2010]

Duncan I am "stealing" that line and will quote it with full attribution to you, a transformation from something one has to "endure," "into the road that leads to satori"! Thanks!

[@mayaradoczy4982]

Excellent! More--more!!!!!!!!!!!! I live in Seattle.

[@rooruffneck]

I'm in Seattle as well! Maybe we'll get a fun group together to discuss the plays and Oxford at some point :) This video was fantastic.

[@shadowplaywriter]

Thank you for an illuminating and insightful talk! I've always thought that Much Ado is among the most autobiographical of Oxford's plays, a vehicle for his regret after having cruelly slandered his wife on the basis of mean-spirited but unfounded gossip. And Hero's forgiveness is all the more poignant in light of the real-life reconciliation between the Earl and Anne -- this play works as an ardent apology from the author!

[@terrydeer805]

This was fun and enlightening - many thanks. These plays are truly illuminated when viewed through an Oxfordian lens. Thanks to the three actors as well, and the singer, whose contributions added a great deal to the hour. I enjoyed the humor and laid-back atmosphere.

[@jikanginaquitorio476]

Brilliant!!!

[@taihastings3097]

Refreshes the soul, to hear sense and logic working together...I suppose we must put up with challenges, ignorance and denial to appreciate the value of something like this when it is offered! I feel lucky to be alive, now that this is available...honestly! Age of aquarius, bring it on!

[@joecurran2811]

Bring it on!!!

[@rooruffneck]

Michael, you have no choice: you must now make a video like this for every play. This was so much fun and enlightening, easily one of the best ways for a person to simultaneously learn more about the plays and Oxford at the same time. I'm sorry, but you simply have no choice. I live in Seattle. If you ever put together a Shakespeare group for local conversations/projects, put me on your list!

[@michaeldelahoyde4802]

There is a Seattle faction (the Seattle Shakespeare Oxford Society) joined with a midwest group (Oberon, led by Richard Joyrich) for monthly Saturday Zoom sessions, usually quite informal chat. Anyway, I know I have no choice, but thanks Much.

[@Nope.Unknown]

Wonderful talk! Thank you so much for all your great work!!

[@sixeses]

Love your suit, shirt and tie.

[@xochitljustice777]

he's a dandy

[@DonWhisner]

Thank you for shining light on a great work and a great man's contribution. All the works when carefully examined will yield illuminating connections.

[@Nope.Unknown]

MORE PLEASE!!! When is the next one coming out?!

[@patricktilton5377]

One possibility regarding the word 'Nothing': the Latin word 'nothus' -- from the Greek word 'nothos' -- means [of men] 'illegitimate, bastard'; [of animals] 'of mixed breed, hybrid, mongrel'; not genuine, spurious'. The English word, then, with its '-ing' ending possibly denoting a gerund-function, would make the play's title have a secondary meaning of "Much Ado About Delegitimizing or Bastardizing" . . . that sort of thing. In other words, "noth-ing" rather than "no-thing" with 'noth-' being the word-root from the Latin via the Greek.

[@proftea9905]

Montanto = upward thrust with a sword - point Puntarvolo - flight : volar / upward movement of a point Shakespeare = raising a point above shoulder height and to shake it in victory Pseudonym reference in the very first bit of dialogue

[@MrAbzu]

Such wry wit, consider this; Everywhere a man goes, he takes his language with him. Delahoyde knows who has words in the First Folio that are unique to one specific writer. Meanwhile, scholarly types look for evidence for everyone else under the Sun as the true author and always coming up a little bit short. All of these not quite Shakespeare's have one thing in common. They knew and or collaborated with the man who reworked and edited the First Folio as it was published. Why would this person work on someone else's plays unless they were also his own in full or in part even if published under someone else's name? The answer is as obvious as it is oblivious. So much Italian in the plays, so little in the usual suspects. Maybe change the name of Elizabeth Winkler's book from Shakespeare Was A Woman to Everyone Who Did Not Write Shakespeare. The name of the true author does not appear in her book even once. Brilliant. Good show.

[@steveharris8248]

Brilliant.