“By Shakespeare's time the possibilities for a politically critical drama had been transformed by the emergence of professional repertory companies which despite their residual status as royal servants derived their economic strength from a far wider public. Shakespeare's career reflects not just individual genius but the excitement of a whole collective institution at the possibilities of what amounted to a cultural revolution: the emergence of a literary public sphere which prepared the way for the formation of a political public sphere."
David Norbrook, "What Cares These Roarers for the Name of the King?: Language and Utopia in The Tempest"
One of the more irritating sights in Oxfordland is the blundering pursuit of an improbable idea through fantasy thickets concocted from what they regard as evidence. These junkets always lead either to a damning assessment of Shakespeare or a conclusive addition to their so-called case for De Vere's authorship. Fox-hunting with the rear half of a pantomime horse.
The unspeakable in pursuit of the unarguable.
Their constant efforts to drown the evidence of Will's career in acid are intended to generate a cloud of noxious smoke to hide the crucifyingly embarrassing fact that no real evidence—of any sort—lends credence to their own case. Recently we have seen imaginary acts of usury and criminal behaviour pile up into a mountain of disreputable sharp practice and then lead to the conclusion that Shakespeare earned his cash from pimping, strong-arming, moneylending and generally impersonating Don Corleone in Elizabethan Southwark.
Contemptible, predictable nonsense.