Susan de Vere – Shakespeare’s Daughter

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(The Original ‘Unbutchered’ Version of the Wikipedia Page We Created)

As part of our ‘Shake a Spear at Ignorance’ work at the Impostor industry (that’s why it started out at AOA before we setup her own site) below is the pure (unbutchered) version of our (User:Australiansofarabia) Wikipedia Susan de Vere, Countess of Montgomery page, originally created on Wikipedia 28 May 2010. There is strong evidence to support the claim that Susan (with help from her step-mother, Elizabeth Trentham) made possible the complete Shake-speare canon that we enjoy today, and though Wikipedia has been going for some 9 years, they did not have their own Wikipedia pages, so Tara and Peter Hogan had a go.
See also:

» DOWNLOAD Susan de Vere eBook PDF 4.7mb
» Download various formats from Internet Archive


» Introduction

» Family and Early Years
» Marriage and Children
» First Folio Producer and Grand Possessor
» Direct Descendants of William Shakespeare
» Footnotes & References

Lady Susan de Vere, Countess of Montgomery was the Producer and ‘Grand Possessor’ of the First Folio (1623) the collected works of ‘William Shake-speare’, the pen-name of her father Elizabethan courtier, poet, and playwright Edward de Vere, 17th Earl of Oxford.

Considering that there is more shelf space in any book store or library and more movies on Shakespeare than any other subject, that makes Susan de Vere the most important person in history. Yet she has been totally rubbed out of the picture by the elitist snobs of the Stratford Sham Industry. Until we came along there was no book, no Wikipedia page, no documentary, no movie, about this very resourceful women, who despite the social constraints of the time, cunningly figured out a way to send us the ultimate ‘message in a bottle’.

Still unpublished before Susan de Vere’s First Folio and otherwise lost to posterity, were:
» Macbeth
» Hamlet
(new version)
» The Comedy of Errors
» The Taming of the Shrew
» The Two Gentlemen of Verona
» As You Like It
» Twelfth Night
» All’s Well That Ends Well
» Measure for Measure
» Henry VI, Part I
» King John
» Henry VIII
» Julius Caesar
» Anthony and Cleopatra
» Timon of Athens
» The Winter’s Tale
» The Two Noble Kinsmen
» Cymbeline
» Coriolanus
, and last but not least
» The Tempest

Father and Daughter

Family and Early Years
Lady Susan was born on 26th May 1587 the youngest daughter of Edward de Vere, 17th Earl of Oxford and Anne Cecil, the daughter of statesman William Cecil, 1st Baron Burghley, Queen Elizabeth’s powerful chief advisor.

Susan had two older sisters, Lady Elizabeth and Lady Bridget. She also had an illegitimate half-brother, Edward.

Following the death of Anne Cecil on 5 June 1588, a year after her birth, Susan and her sisters remained in the household of their maternal grandfather, Baron Burghley where they received an excellent education. In 1591, Elizabeth’s father married Elizabeth Trentham who gave birth to a son Henry in 1593, who would later succeed as 18th Earl of Oxford.[1] (Thus the exact same family structure as King Leir 1594 and the later version, King Lear, without the happy ending).

Shorlty after the ‘purported’ death of her father, Susan at just 17 was matched with Philip Herbert (just 20 himself; 1584-1650) to safeguard her father’s works through the guiding hand of Philip’s literary mother Mary Sidney Herbert (she had done likewise for her brother Philip Sidney’s contribution to the evolution of the English Sonnet after his premature death in 1586).
Philip was then made 1st Earl of Montgomery because of his marriage into the Vere/Shakespeare family. (Philip was later made 4th Earl of Pembroke, a year after Susan’s death.). Philip Herbert and his older brother William Herbert, 3rd Earl of Pembroke were the ‘incomparable pair of brethren’ to whom the First Folio was ‘officially’ dedicated.
The wedding was set for 27 December 1604 to line up with royal Twelfth Night festivities which would include Susan performing in The Masque of Blackness composed by her friend Ben Jonson for the court of the new King James (Queen Elizabeth died in 1603).

Surviving into adulthood:
» Lady Anna Sophia Herbert, married Robert Dormer, 1st Earl of Carnarvon and had issue.
» Sir Charles Herbert (c. 1619–1635) to settle feud with Buckingham (see Spanish Match below) married his daughter Mary Villiers, had no issue.
» Philip Herbert, 5th Earl of Pembroke (c. 1621–1669)
» Hon. James Herbert (c. 1623–1677) of Kingsey, Buckinghamshire[2]

Susan “dyed of the smallpox on the Court att Whitehall” on 29 January 1629 (aged 41) and was buried in Westminster Abbey, London.

Susan de Vere – Herbert Family Portrait

Susan had 10 children (7 boys and 3 girls) to Philip, 3 died in infancy (shown in the clouds); far right, Anna Sophia (in blue, and husband, Robert Dormer); Charles (15 years old, left, red) is to marry Mary Villiers (13, foreground, silver – brings a £25,000 dowry to the marriage contract, but he dies shortly after this portrait); the younger brother Philip (also reddish hair, in gold); and far left, the 3 youngest boys.[3]


Cheeky – Tara Hogan’s Parrot – 12010 – 12019CT

We are very very sad to announce Tara’s parrot that she named ‘Cheeky’ when she was 8 years old has transitioned to immortality – see Cheeky’s unique contribution to our Susan de Vere work, particularly “How to make a parrot sonnet” for students and exposing the Shakespeare mask, as Leonardo diConure.

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A very special member of the family, Cheeky, a South American conure, was almost 9 years old. A fantastic whistler that loved flying around the house and landing on Tara.


Direct Descendants of Edward de Vere aka William Shakespeare
From Susan de Vere via her son Philip Herbert, 5th Earl of Pembroke, we have direct descendants of Edward de Vere all the way down to the present day to William Herbert 18th Earl of Pembroke (b. 18 May 1978).

One wonders if Will, as he calls himself, comprehends that he is the Great great great great… grandson of William Shakespeare. In a way he has more of an obligation than anyone to respect the true deeds of this particular ancestor.

Perhaps somewhere in one of the old dusty storage rooms of his large Wilton (already a tourist attraction, even more so after our eBook – see Wilton House Tours) mansion is his great, great, great… grandfather’s little portable desk with his Shake-speare manuscripts inside (mentioned in one of Edward de Vere’s letters to Burghley). Unfortunately though, in 1647 there was a major fire which destroyed most of the house, having to be rebuilt by Inigo Jones (who also designed some of Ben Jonson’s elaborate masques).

Remember too, that King’s Place Hackney where Edward de Vere spent his last years was also owned by William Herbert, 1st Earl of Pembroke – see Elizabeth Trentham.

[Captain James Cook’s famous ship, the ‘HMS Endeavour’, was originally ‘MS Earl of Pembroke’, built in 1765 and named after the 10th Earl of Pembroke (Henry Herbert 1734-1794).]

Wilton Estate Shakespeare ‘SHADOW’ Statue

At the entrance to the ancestral Pembroke estate at Wilton is an ‘almost’ exact replica of the memorial of the Westminster Abbey one in Poet’s Corner. It was commissioned by Henry Herbert, 9th Earl of Pembroke (one of the ‘architect earls’) in 1743 in direct response to the one that went up in Westminster Abbey. Both were sculpted by Peter Sheemakers. This is around the time when the Stratford Sham Industry started to take off, especially with the popularity of the new Shakespeare acting sensation, David Garrick.

The subtle difference is the text on the scroll, in Westminster Abbey
Shakespeare is pointing to the word “Temples,” and the rather
innocuous inscription on the scroll reads:

The Cloud capt Tow’rs,
The Gorgeous Palaces,
The Solemn Temples,
The Great Globe itself,
Yea all which it Inherit,
Shall Dissolve.

In stark contrast, at Wilton, you can see Henry Herbert wanted
something that blatantly indicated there was a “SHADOW” – taken
from Mac-beth [son of Elizabeth] the scroll reads:

LIFE’s but a walking SHADOW
That struts and frets his hour
Upon the STAGE
And then is heard no more!


Enheduanna 7715-7750CT earliest known author was female

First Folio Producer
Susan de Vere was clearly the ‘grand possessor’ and producer of the First Folio.
In those days of male dominated society official credit for such a major publication went to her husband. However, as the late Josephine A Roberts notes, Philip Herbert’s biographer, the Earl of Clarendon, claimed scornfully that he “pretended to no other qualifications than to understand horses and dogs very well“; and John Aubrey in Brief Lives noted of Philip that he “did not delight in Books of Poetry: but exceedingly loved Painting and Building.”
Susan also had a close relationship with Ben Jonson, its editor. She appeared in several of Jonson’s Masques.”[4][5] For instance, The Masque of Blackness was written for her Twelth Night wedding to Phillip Herbert.
And that wedding was set not long after the mother-in-law Mary Sidney Herbert reputedly enticed the knew King James to visit Wilton with the note “the man Shakespeare is here”. Edward de Vere and Mary had been trying to ensure perpetual literary guardianship with marriages between their children since the 1590s when another daughter Bridget de Vere was affianced to her older son William Herbert (which is even confirmed by Strato Dover Wilson re Vere’s 8 September 1597 letter).

“Susan de Vere was clearly a beautiful and entrancing person. Ben Jonson fell in love with her and wrote her the most subtly erotic poems…” p.180, Earls of Paradise, Adam Nicholson, 2008.

(see also Epigrams and The Forest – Ben Jonson, edited by Richard Dutton, p 68)

“A three volume book of Plato [Paris, 1578] in the Chetham Library, Manchester was once owned by Ben Jonson. But Ben Jonson’s title page inscription in each volume states that the books were given to him by Henry de Vere, 18th Earl of Oxford”[6].
Henry was Susan’s half brother (his mother being Elizabeth Trentham), he had been imprisoned in the Tower for his opposition to the ‘Spanish Match‘ (Prince Charles marriage into Catholic Spain) in 1621 along with Southampton (the Fair Youth of the Sonnets being cajoled into marriage with Elizabeth de Vere). But Henry’s stay was prolonged due to hs refusal to marry into the family of parvenu Buckingham (who had more than the ear of King James).

Susan would use the publication of the collected works of her father, ‘Shake-speare‘, not only to ensure his legacy but also to help her brother. The First Folio was finally published by the Jaggard firm in November 1623, with the first recorded purchase being December 5. Straight after on December 30, Henry was released from the Tower.[7] Susan seems to have used the positive vibe that would be created by the publication of the Shake-speare canon, with it’s emphasis on the good ol’ days, especially the defeat of the Spanish Amarda, thus reinforcing the aboutface by Charles and Buckingham to a militant stance with Spain (effectively the end of the reign of James I). Then Henry back in favour was matched with Cecil’s great granddaughter, Diana Cecil. The hurried marriage taking place just two days later on 1 January 1624 (all prompting Francis Bacon in his fall from disgrace to besought Henry’s favour in an obsequious letter).

Previously in 1619 when he was hoping to win the contract to print what became the First Folio, William Jaggard began wooing Susan and her husband with the dedication to Archaio-Ploutos (the book employs many of the same typographical devices which appeared four years later in the Shakespeare Folio):

To the most Noble and Twin pair of truly honorable and complete perfection: Sir Philip Herbert… earl of Montgomery…As also the truly vertuous and noble countess his wife, the lady Susan, daughter to the Right Honourable Edward Vere, earle of Oxenford…”[8]

Roger Stritmatter notes in ‘Susan Vere, William Jaggard and the 1623 Shakespeare Folio’ that this fact was only unearthed relatively recently in 1990 (much to the chagrin of Stratos) before that “this concrete 1619 link between Susan Vere and the Jaggard firm was not known to students of the authorship question.” [9]

The Curious Coincidence
According to Stratos W. W. Greg and Charlton Hinman, at Jaggard’s printing-press, by a curious coincidence, sometime before 21 October, 1621, work on the First Folio was unaccountably suspended, and it was not resumed for a period estimated by as twelve or thirteen months i.e Oct/Nov 1622.
This ‘downtime’ period would coincide perfectly with the pregnancy and birth of Philip Herbert (later 5th Earl of Pembroke).
Charlton Hinman also notes, that the First Folio “would call for a considerable outlay of capital, would take a long time to produce and would hardly, when finished, be in great popular demand. It would be too expensive …quick returns could not be expected on a large folio priced at one pound a copy.”
So the First Folio was subsidized by Susan de Vere i.e. not produced for profit but rather her personal motive, her father’s legacy and playing her part in ensuring Vere/Shakespeare’s obsession with immortality.

Ben Jonson’s Preface to the First Folio

…Looke how the fathers face
Lives in his issue, even so, the race
Of Shakespeares minde, and manners brightly shines
In his well toned, and true-filed lines :
In each of which, he seemes to shake a Lance,
As brandish’t at the eyes of Ignorance.
Sweet swan of Avon!

“Father’s [/Edward de Vere’s] face Lives in his issue [daughter, Susan de Vere – cf. Sonnet 37 ]”. And the lines about the Greek goddess Pallas Athena – mainly thought of at the time as the patron of theatre, being the goddess of wisdom and civilization, the opposite of ignorance, thus ‘shake a spear at ignorance’ >>> Shake-speare – come just before the reference to the River ‘Avon’ which also runs through Susan’s home in Wiltshire (it would be more likely Jonson is sucking up to Susan, rather than the matriarch, Mary Sidney, who had died sometime earlier in 1621).

The Smoking Gun

You can see how the beautufil Shakespeare Identity Formula whiffs its way to the ‘smoking gun‘ – first we have the ‘smoke‘ coming
from the Hyphen …mmm “didn’t know about any hyphen”, then, more ‘smoke‘ coming from behind the Mask on the front of the First Folio, …“didn’t know about any mask either, someone is trying to tell us something”, and who just happens to be behind the production of the First Folio …The ‘smoking gun‘ is the Daughter. “Well, I certainly didn’t know Edward de Vere’s daughter keeps popping up from the Sonnets to the First Folio”.

In Popular Culture
King Lear, as with most of Edward de Vere’s plays, was clearly a rework – likely at King’s Place, Hackney, during the Elizabeth Trentham Prospero/Tempest like 12 year exile from 1592 to Vere’s death in 1604 vere-letter-tempest-prosperous-gale/ – of Vere’s earlier The True Chronicle History of King Leir, registered in 1594; Lear/Leir had 3 daughters so did Vere (the rhyming 4 letter surnames); and both signed over their major estates to their daughters (Vere under pressure from Burghley, their grandfather); and there are clear parallels between Susan de Vere and Cordelia – Mark Anderson, p354 – the telltale ‘nothing’ lines re the de Vere family motto (Vero Nihil Verius = nothing truer than truth) in King Leir (c. 1594) / King Lear Redux and John Davies’ masque in Francis Davison’s Poetical Rapsody 1608; Warren Hope’s Lear’s Cordelia, Oxford’s Susan & Manningham’s Diary; and Nathaniel Baxter’s (was in Italy with Vere, also friend of Philip Sidney) poem Ourania about her father to Susan: “Vera Nihil Verius Susanna Nihil Castius” (Nothing truer than truth, nothing chaster than Susan).

Susan de Vere was also a confidant and the key character of Mary Sidney Wroth’s The Countesse of Montgomeries Urania (1621), the first extant prose romance by an English woman, along with the first known sonnet sequence. Unlike Edward de Vere, or even her uncle Philip Sidney, whose work was published after his death, Wroth did not use a pseudonym, and was duly socially vilified for making it too easy to identify the real life characters.

In Wroth’s roman à clef Urania/Susan learns that the couple who reared her from childhood are not her actual parents. After many obstacles in the climax Urania finds out about her royal heritage. A plotline Wroth got from hearing the story of best friend Susan’s father, Edward de Vere.

Grand Possessor
Susan de Vere and Mary Sidney Wroth’s ‘collaboration’ on Urania was heavily influnenced by the saga of the translation and publication of Amadis de Gaule by Anthony Munday (remembering he was the cousin of Mr. W.H. – William Hall of the Hackney based Shake-speare Sonnets).

Munday was either working for, or as another frontman for his longtime boss Edward de Vere, 17th Earl of Oxford. There are no more plays and novels, like the Robin Hood contribution, published under Anthony Munday’s name after 1604, the year of Edward de Vere’s death. After that Munday suddenly declines to only ceremonial pageant poetry, and seems to have returned to his father’s drapery trade. Having started out as an actor before becoming Edward de Vere’s ‘assistant’ (aka Lazarus + Piot = lame nobleman to be raised from the dead + magpie frontman) one doubts Munday ever learnt French to be attributed solely with the translation of Amadis (and Primaleon – son of Palmerin d’Oliva stories, sources for The Tempest). To make it all too obvious, “The Downfall and The Death of Robert Earl of Huntington” 1598, was the first to introduce the idea of Robin Hood as a dispossessed earl, rather than a yeoman; and in the 1601 quarto version ‘Lord Salisbury’ becomes ‘Aubrey de Vere, [2nd] Earl of Oxford’, and switches back and forth between the two identities. [There is also ‘Earl of Oxford’ anachronistic ‘nepotism’ on the part of the author in Henry VI Part 3 (“Valiant Oxford”, V.i.1 – John de Vere, 13th Earl of Oxford.]

The Amadis translations go back to the 1590s, publication was in 1619 (just like Arxaio-Ploutos mentioned above). Now for us, the fascinating plot – Amadis de Gaule is about the star-crossed love of King Perión of Gaul and Elisena of England, resulting in the secret birth of Amadís. Abandoned at birth on a barge in England, the child is raised by the knight Gandales in Scotland. Amadis then goes on the adventure to find out his true origins. Thus we see the influence on Urania and again reinforcing the Anonymous plotline. And Amadis’ The Arch of Loyal Lovers on the Firm Island is the source for Urania’s Throne of Love, and its Unaccessible Rock comes from Amadis’ fight against the monster Endriagus who was born of incest – another subplot of Anonymous.

Also just like Edward de Vere/Shake-speare, some think that Enrique of Castille – who lived for 4 years in the court of Edward I of England – was the true author of the original Amadis de Gaula Spanish epic but due to his high office it would have been a problem to declare his authorship.
[The Amadis de Gaula plotline also inspired Miguel de Cervantes’ Don Quixote, 1605.]

Munday’s 1619 Amadis dedication is a confirmation of Susan de Vere as the ‘grand possessor‘ of the Shake-speare manuscripts and source books:
…by the helpe of that worthy Lady, I have had such Bookes as were of the best editions…
All in the same way the First Folio 1623 is also ‘officially’ dedicated to her husband Philip Herbert, but Susan is obviously behind the production.

Pamphilia’s cabinet and Edward de Vere’s Portable Writing Desk
Bernadette Andrea notes Urania’s friend Pamphilia retreats to her chamber “taking a little Cabinet with her”; this cabinet contains her collected works, she “being excellent in writing”. She reads her verse, writes some more, re-reads what she has written, and “then tooke shee the new-writ lines, and as soone almost as shee has given them life, shee likewise gave them burial”.

We know Edward de Vere had such a cabinet – his letter to Robert Cecil,
6 September 1596:
The writing which I have is in the country, for I had such care thereof as I carried it with me in a little desk [containing his collected works]”

Vere and Cervantes Collaboration on
Amadis-inspired Don Quixote
Sure is a lot of Jungian synchronicity going on here.
Here we have Edward de Vere/Munday playing around with Amadis Spanish story translation since the early 1590s – he clearly relates to the parallels with his own life, as confirmed by his daughter Susan in her collaboration with Mary Sidney Wroth above – bastard son, incest, also Amadis absents himself from Britain [yep, this influential Spanish story has a setting in Vereland]… then the amazing synchronicity: Vere ‘purportedly‘ dies 24 June 1604 (remember that’s the old calendar still used in England) = 6 July 1604 modern Calendar already adopted in Spain.

Christopher Paul has done extensive research on the mystery surrouding Edward de Vere’s purported death in July 1604 – regular letter writers mention nothing, there’s no record of a funeral and the grave has never been located.
Measure for Measure was performed for the Court the night before the wedding of Susan de Vere and Philip Herbert on 27 December 1604. The leading character in this play is the “old fantastical duke of dark
corners,” who goes undercover at the beginning of the play not to reveal himself again until the final act. The noble friar asks Lucio what news he has of the missing Duke, he replies:
“Some say he is with the Emperor of Russia, others he is in Rome…
It was a mad fantastical trick of him to steal from the state and usurp
the beggary he was never born to.”

Meanwhile, over in Spain we have Miguel de Cervantes, born around same time as Vere. Cervantes spends quite a big chunk of his life in the military, then suddenly in his late 50s (when most people are dead in that era) after having no literary success previously, whatsoever, at the exact same time as Vere ‘exits the stage’ in England, in July of 1604 Cervantes sold the rights of a Amadis-inspired story called Don Quixote of la Mancha to the publisher-bookseller Francisco de Robles (it eventually comes out in January, 1605) and suddenly has his first ever hit, and a classic in the history of literature.

With a plague raging in London, and already feeling Quixotic – lame [Quixote means ‘thigh’ – right where Vere had an old wound], poor and despised, Edward de Vere premeditated everything – all those years of developing his ‘exit’ story inspired by Amadis, faking his death – the timing could not be a coincidence, straight after the “shipwreck” caused by the death of Queen Elizabeth and the ascendance of James I (any chance of “Edward VII

as he had now stopped signing his letters as, now gone, as was Southampton’s with his complicity in the Essex debacle, arrested briefly the very night of Vere’s ‘exit’, to signoff on no further coups d’etat, he would die with Henry de Vere in the Low Countries, Protestant alliance against Catholic Spain, the “Two Most Noble Henriesblood brothers to the end); retiring to sunny Spain and funding his last years with yet another perfect ‘collaboration’ partner, this time with local loser, Miguel Cervantes, who had just got out of jail and was broke.

The quarto publication of A Midsummer Nights Dream Title Page had the same Post Tenebras Lux (Light After Darkness) motto of the Protestant alliance / the Rosicrucians like Vere (founded in late medieval by the German Rosenkreuz, cf. Hamlet’s Rosencrantz) on the printer’s device as appeared on the Cervantes crest on the title page of Don Quixote.

Susan de Vere’s Message in a Bottle to Posterity

Susan was her father’s youngest and favourite, mirroring Edward de Vere’s fascination with the story of the legendary King Leir of ancient Briton (on which he based his 2 versions of King Lear/Leir) and his favourite daughter Cordelia. Leir was eventually exiled from Britain and fled with Cordelia’s help to Gaul. Leir had faith that his daughter Cordelia would somehow, oneday restore his throne.

Susan de Vere’s epitaph is thus apt – by someone who knew her well, some say it was composed by Ben Jonson:

In thy name there is a tomb
If the world can give it room

For a Vere and Herbert’s wife
Outspeaks all tombs, outlives all life.

All the above clearly shows that Susan de Vere was sending us – across  the ‘400 years of ignorance ocean’a message in a bottle:
“My father, Edward de Vere, is Shakespeare.”


Check out our new Amazon Children’s Book

It’s Only Ordinary If You Let It Be – TARART

And the Youtube video
(16×17, 32s, 10Mb)





It may look like a simple book for kids using a standard motif, but it’s really motivation (or is it inspiration, or both?) for young or old. The title says it all, along with mesmerizing TARART, uniquely capturing the ultimate educational self help catchphrase, “It’s only ordinary… if you let it be”. Brain stimulating student exercises at the back, including one we should all ponder.



the-big-four-14iiiWANTED: Home University for Susan de Vere Producer First Folio

1. The De Vere Society
2. The Peerage,
4. Ogburn
6. Anderson, Notes, p.566
7. Anderson, p.377
8. Anderson, p.372
9. Roger Stritmatter, “Bestow how, and when you list…”
Susan Vere, William Jaggard and the 1623 Shakespeare Folio
First published in the Shakespeare Oxford Newsletter (Fall 1998).

– Mary Sidney Wroth, The Countesse of Montgomeries Urania. 1621
Particularly see “The First Part of Urania…” edited by Josephine A.Roberts

– Margaret P. Hannay, Mary Sidney, Lady Wroth [Google Books has many of the key pages]. 2010
Particularly see pp. 210-211 references to Amadis, Don Quixote, the windmill on the title page of Urania, and incest:
– Maureen Quilligan, Incest and Agency in Elizabeth’s England [Amazon]. 2005
It is no accident for Quilligan that the first printed work of Elizabeth I was a translation done at age eleven of a poem by Marguerite de Navarre, in which the notion of “holy” incest is the prevailing trope. Nor is it coincidental that Mary Wroth, author of the first sonnet cycle and prose
romance by a woman printed in English, described in these an endogamous, if not legally incestuous, illegitimate relationship with her first cousin. Sir Philip Sidney and his sister, the Countess of Pembroke, translated the psalms together, and after his death she finished his work by revising it for publication; the two were the subject of rumors of incest… [Google Books]

– Bernadette Andrea, Pamphilia’s Cabinet: Gendered Authorship and Empire in Lady Mary Wroth’s Urania. 2001
– Christopher Paul, A Monument Without a Tomb: The Mystery of Oxford’s Death. 2004
Lady Anne Clifford, Countess Of Dorset, Pembroke & Montgomery. 1590-1676. Her Life, Letters And Work. Dr. George C. Williamson 1922
– Charlton Ogburn. The Mysterious William Shakespeare: The Myth & the Reality. 1984
– Mark Anderson. “Shakespeare” by Another Name: The Life of Edward de Vere, Earl of Oxford, The Man Who Was Shakespeare. Gotham, 2005 (expanded paperback edition 2006).
– Ruth Loyd Miller. The Earl of Oxford’s Gift to Ben I : Books from Shakespeare’s Library [privately published MS, 1988]


Ovid’s Fasti June 24 Vere Exit AA (1m 35s, 6.9Mb)

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Susan de Vere – Shakespeare’s Daughter
The woman who gave us the First Folio
by Tara & Peter Hogan
ISBN: 9780987146410

From our ‘Shake a Spear at Ignorance’ Series
The definitive modern Shakespeare school text book



Tara and Peter Hogan
PO Box 1
Potts Point NSW 1335
Sydney Australia
Full contact details




Home University for Susan de Vere


One Response to “Susan de Vere – Shakespeare’s Daughter”

  1. psi2 Says:

    Fascinating. You have some great leads and facts gathered together in one illuminating post. I especially liked this:

    The First Folio was finally published by the Jaggard firm in November 1623, with the first recorded purchase being December 5. Straight after on December 30, Henry was released from the Tower.[7]

    Because I knew that the two events were very close in time but had not seen so clear a way of putting that uses the relevant facts to show how close it must have been. Thank god for that first recorded purchase.

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