How is Pynchon like Shakespeare (not sayin he is; just sayin' this)

[alice wellintown]

Is there irony in all those sonnets in LLL? Or is the fact that so
many sonnets and sonnet-like schemes and tropes appear in that Play a
good reason to date the composition of the sonnets and that Play, and
thus tie them to the Ladies V, that is Lady Elizabeth Vere & Elizabeth
Vernon? This logic would confirm the production of MSND, and its
tribute to the Elizabeths III, that is Vernon, Vere, and Elizabeth the
Virgin Queen. If so, the sonnets fit in, not only with LLL and MSND,
and those who paid for these productions, but within the lives of
those in court who commissioned and were the private audience of both
the Plays and Sonnets, the high water mark in the vogue of the English
sonnet, and sonnets as letters in court, the rival poet convention,
and the intrigue and jeopardy of courtly love. Ambiguity, of course,
is a deliberate poetic technique, though today we tend to use the term
to describe a confused reader or a inscrutable text, this is an error.
That Shakespeare's sonnets and plays are loaded up with ambiguity is
undeniable and is, of course, one of the reasons he is celebrated as
one of the greatest authors in the language. Shakespeare could, one
might argue, protect himself and others with ambiguity. In the
graveyard in _Hamlet_, where ambiguity meets its end, where the
infinite jest confronts the absolute language of a clown digging a
grave for a what was once a lady but is now a corpse, and where
ambiguity is left in the dust, we see the maturity of Shakespeare's
mind about ambiguity and its limits. Surely it has limits. More, might
keep a poet, as Cherrycoke reminds us,  in work or at least out of the
cold,  less might make him a beggar or a dust. Called on to explain
his meaning and alter it, a poet, like a wandering bark in a Tempest
tossed, would need to a fix a few stars in his constellation. These
would never bend or move. Modern and Postmodern critics of these
works, too impressed with their own takes and cuts and plays, have
proved Shakespeare false, as if he never wrote what someone ever
loved.