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The deception surrounding William Shakespeare as the author of his works reveals how power manufactures consensus reality. The Shakespeare deception wasn’t just about hiding an author’s identity; it was about creating a national myth powerful enough to shape centuries of cultural development.
Today, as we question other “official stories,” the Shakespeare authorship question stands as proof that our most cherished cultural beliefs may be elaborate fictions designed to serve interests we never suspected.
In the end, the greatest irony may be that the plays designed to serve the empire ultimately serve truth.
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The following is from an essay by Lies are Unbekoming titled ‘The Shakespeare Deception: Authorship, Empire and Manufactured Myths’. We have split the essay into 5 parts. Below is the fifth and final part. You can read Part 1 HERE, Part 2 HERE, Part 3 HERE and Part 4 HERE. If you would like to read the essay in one sitting, you can read it on Substack HERE.
The Shakespeare Deception: Authorship, Empire and Manufactured Myths Part 5
VIII. Conclusion: The Truth Behind the Mask
Edward de Vere, 17th Earl of Oxford, was the primary author of the Shakespeare plays, writing from personal experience, elite education and court insider knowledge between approximately 1580 and his death in 1604. The plays were autobiographical art that also served as Tudor propaganda, which de Vere likely understood and perhaps even embraced, given his position in Elizabeth’s court. His life – traumatic, privileged, learned and conflicted – provided the raw material that genius transformed into universal art.
After de Vere’s death, Francis Bacon and a circle of intellectuals, including Ben Jonson, recognised the imperial potential of these works. They crafted the myth of William Shakespeare – using the convenient existence of the actor/businessman from Stratford as their front – and published the First Folio in 1623. This wasn’t just literary fraud; it was social engineering on a grand scale, creating a national myth that would shape centuries of English and world culture.
The myth succeeded beyond their wildest dreams. The story of the untutored genius from rural England became a cornerstone of British identity, fostering the cultural confidence that helped build an empire. Shakespeare became England’s Homer, but unlike Homer, he was designed to be both mysterious and democratic – a nobody who became everybody’s poet. Through schools, theatres and Masonic lodges, the myth spread across the globe, making English patterns of thought seem universal and natural.
The deception reveals how power manufactures consensus reality. The Shakespeare hoax wasn’t just about hiding an author’s identity; it was about creating a national myth powerful enough to shape centuries of cultural development. Today, as we question other “official stories” – from weapons of mass destruction to pandemic origins – the Shakespeare authorship question stands as proof that our most cherished cultural beliefs may be elaborate fictions designed to serve interests we never suspected.
The true tragedy isn’t that we were deceived about who wrote Hamlet – it’s that we’ve been taught to worship inexplicable genius rather than understand that great art comes from lived experience, education, suffering, and dedicated work. De Vere’s biography makes the plays human and accessible; the myth of Shakespeare makes them divine and untouchable. One serves truth and human understanding; the other serves power and empire.
As we stand at another historical inflexion point, when old empires fade and new powers rise, when information itself becomes a battlefield, the Shakespeare deception offers both warning and hope. The warning: that false narratives, once established, can shape reality for centuries. The hope: that truth, however long suppressed, eventually emerges. The plays remain great art regardless of who wrote them, but knowing their true author allows us to read them as they were written – as one man’s attempt to make sense of his life and times, not as mysterious emanations from an impossible genius.
The mask is slipping. Behind it stands not the Stratford businessman but Edward de Vere, and behind him, Francis Bacon and the architects of empire. But behind them all stand the plays themselves – love songs to language, mirrors of human nature, testimonies to the truth that power tries to hide but art preserves. In the end, that may be the greatest irony: the plays designed to serve empire ultimately serve truth, revealing in their very existence the elaborate deception required to make them serve power’s purposes.
The question now is not just who wrote Shakespeare, but what we’ll do with the truth once we accept it. Will we continue to worship at the altar of false genius, or will we finally see the plays as they really are – the transformed suffering of a brilliant, educated, troubled man whose biography illuminates every line. The choice, like the truth itself, is ours to make.
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Categories: Breaking News, World News
‘The World is a Stage’
Don’t we know it now.