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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 05:33:50 -0700 |
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diff --git a/9847-h/9847-h.htm b/9847-h/9847-h.htm new file mode 100644 index 0000000..ee2c5e8 --- /dev/null +++ b/9847-h/9847-h.htm @@ -0,0 +1,7548 @@ +<?xml version="1.0" encoding="iso-8859-1"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta content="pg2html (binary v0.17)" name="linkgenerator" /> + <title> + Bacon is Shake-speare, by Sir Edwin Durning-lawrence + </title> + <style type="text/css" xml:space="preserve"> + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .75em; margin-bottom: .75em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 5%; margin-right: 5%; text-align: justify; font-size: 80%; font-style: italic;} + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + .xx-small {font-size: 60%;} + .x-small {font-size: 75%;} + .small {font-size: 85%;} + .large {font-size: 115%;} + .x-large {font-size: 130%;} + .indent5 { margin-left: 5%;} + .indent10 { margin-left: 10%;} + .indent15 { margin-left: 15%;} + .indent20 { margin-left: 20%;} + .indent25 { margin-left: 25%;} + .indent30 { margin-left: 30%;} + .indent35 { margin-left: 35%;} + .indent40 { margin-left: 40%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {position: absolute; right: 1%; font-size: 0.6em; + font-variant: normal; font-style: normal; + text-align: right; background-color: #FFFACD; + border: 1px solid; padding: 0.3em;text-indent: 0em;} + .side { float: left; font-size: 75%; width: 15%; padding-left: 0.8em; + border-left: dashed thin; text-align: left; + text-indent: 0; font-weight: bold; font-style: italic; + font-weight: bold; color: black; background: #eeeeee; border: solid 1px;} + .head { float: left; font-size: 90%; width: 98%; padding-left: 0.8em; + border-left: dashed thin; text-align: center; + text-indent: 0; font-weight: bold; font-style: italic; + font-weight: bold; color: black; background: #eeeeee; border: solid 1px;} + p.pfirst, p.noindent {text-indent: 0} + span.dropcap { float: left; margin: 0 0.1em 0 0; line-height: 0.8 } + pre { font-style: italic; font-size: 100%; margin-left: 10%;} +</style> + </head> + <body> +<pre xml:space="preserve"> + +Project Gutenberg's Bacon is Shake-Speare, by Sir Edwin Durning-Lawrence + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +Title: Bacon is Shake-Speare + +Author: Sir Edwin Durning-Lawrence + +Release Date: February, 2006 [EBook #9847] +First Posted: October 24, 2003 +Last Updated: March 16, 2019 + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK BACON IS SHAKE-SPEARE *** + + +Etext produced by Jonathan Ingram, Graham Smith, Tapio Riikonen +and the Online Distributed Proofreading Team. + +HTML file produced by David Widger + + + + +</pre> + <div style="height: 8em;"> + <br /><br /><br /><br /><br /><br /><br /><br /> + </div> + <h1> + BACON IS SHAKE-SPEARE + </h1> + <h2> + By Sir Edwin Durning-Lawrence, BT + </h2> + <h4> + AND + </h4> + <h1> + PROMUS OF FOURMES AND ELEGANCYES BY FRANCIS BACON + </h1> + <h3> + Collated, with the Original MS. by the late F.B. BICKLEY, and revised by + F.A. HERBERT, of the British Museum. + </h3> + <h3> + MCMX + </h3> + <h4> + "Every hollow Idol is dethroned by skill,<br /> insinuation and regular + approach." + </h4> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <h3> + TO THE READER + </h3> + <p> + The plays known as Shakespeare's are at the present time universally + acknowledged to be the "Greatest birth of time," the grandest production + of the human mind. Their author also is generally recognised as the + greatest genius of all the ages. The more the marvellous plays are + studied, the more wonderful they are seen to be. + </p> + <p> + Classical scholars are amazed at the prodigious amount of knowledge of + classical lore which they display. Lawyers declare that their author must + take rank among the greatest of lawyers, and must have been learned not + only in the theory of law, but also intimately acquainted with its + forensic practice. In like manner, travellers feel certain that the author + must have visited the foreign cities and countries which he so minutely + and graphically describes. + </p> + <p> + It is true that at a dark period for English literature certain critics + denied the possibility of Bohemia being accurately described as by the + sea, and pointed out the "manifest absurdity" of speaking of the "port" at + Milan; but a wider knowledge of the actual facts has vindicated the author + at the expense of his unfortunate critics. It is the same with respect to + other matters referred to in the plays. The expert possessing special + knowledge of any subject invariably discovers that the plays shew that + their author was well acquainted with almost all that was known at the + time about that particular subject. + </p> + <p> + And the knowledge is so extensive and so varied that it is not too much to + say that there is not a single living man capable of perceiving half of + the learning involved in the production of the plays. One of the greatest + students of law publicly declared, while he was editor of the <i>Law Times</i>, + that although he thought that he knew something of law, yet he was not + ashamed to confess that he had not sufficient legal knowledge or mental + capacity to enable him to fully comprehend a quarter of the law contained + in the plays. + </p> + <p> + Of course, men of small learning, who know very little of classics and + still less of law, do not experience any of these difficulties, because + they are not able to perceive how great is the vast store of learning + exhibited in the plays. + </p> + <p> + There is also shewn in the plays the most perfect knowledge of Court + etiquette, and of the manners and the methods of the greatest in the land, + a knowledge which none but a courtier moving in the highest circles could + by any possibility have acquired. + </p> + <p> + In his diary, Wolfe Tone records that the French soldiers who invaded + Ireland behaved exactly like the French soldiers are described as + conducting themselves at Agincourt in the play of "Henry V," and he + exclaims, "It is marvellous!" (Wolfe Tone also adds that Shakespeare could + never have seen a French soldier, but we know that Bacon while in Paris + had had considerable experience of them.) + </p> + <p> + The mighty author of the immortal plays was gifted with the most brilliant + genius ever conferred upon man. He possessed an intimate and accurate + acquaintance, which could not have been artificially acquired, with all + the intricacies and mysteries of Court life. He had by study obtained + nearly all the learning that could be gained from books. And he had by + travel and experience acquired a knowledge of cities and of men that has + never been surpassed. + </p> + <p> + Who was in existence at that period who could by any possibility be + supposed to be this universal genius? In the days of Queen Elizabeth, for + the first time in human history, one such man appeared, the man who is + described as the marvel and mystery of the age, and this was the man known + to us under the name of Francis Bacon. + </p> + <p> + In answer to the demand for a "mechanical proof that Bacon is Shakespeare" + I have added a chapter shewing the meaning of + "Honorificabilitudinitatibus," and I have in Chapter XIV. shewn how + completely the documents recently discovered by Dr. Wallace confirm the + statements which I had made in the previous chapters. + </p> + <p> + I have also annexed a reprint of Bacon's "Promus," which has recently been + collated with the original manuscript. "Promus" signifies Storehouse, and + the collection of "Fourmes and Elegancyes" stored therein was largely used + by Bacon in the Shakespeare plays, in his own acknowledged works, and also + in some other works for which he was mainly responsible. + </p> + <p> + I trust that students will derive considerable pleasure and profit from + examining the "Promus" and from comparing the words and phrases, as they + are there preserved, with the very greatly extended form in which many of + them finally appeared. + </p> + <h3> + EDWIN DURNING-LAWRENCE. + </h3> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <p> + <b>CONTENTS</b> + </p> + <p class="toc"> + <a href="#link2H_4_0001"> <b>BACON IS SHAKESPEARE.</b> </a> + </p> + <p class="toc"> + <a href="#link2HCH0001"> CHAPTER I. — "What does it matter whether + the immortal works were written by </a> + </p> + <p class="toc"> + <a href="#link2HCH0002"> CHAPTER II. — The Shackspere Monument, + Bust, and Portrait. </a> + </p> + <p class="toc"> + <a href="#link2HCH0003"> CHAPTER III. — The so-called "Signatures." + </a> + </p> + <p class="toc"> + <a href="#link2HCH0004"> CHAPTER IV. — Contemporary Allusions to + Shackspere. </a> + </p> + <p class="toc"> + <a href="#link2HCH0005"> CHAPTER V. — "The Return from Parnassus" + and "Ratsei's Ghost." </a> + </p> + <p class="toc"> + <a href="#link2HCH0006"> CHAPTER VI. — Shackspere's Correspondence! + </a> + </p> + <p class="toc"> + <a href="#link2HCH0007"> CHAPTER VII. — Bacon acknowledged to be a + Poet. </a> + </p> + <p class="toc"> + <a href="#link2HCH0008"> CHAPTER VIII. — The Author revealed in the + Sonnets. </a> + </p> + <p class="toc"> + <a href="#link2HCH0009"> CHAPTER IX. — Mr. Sidney Lee and the + Stratford Bust. </a> + </p> + <p class="toc"> + <a href="#link2HCH0010"> CHAPTER X — Bacon is Shakespeare. </a> + </p> + <p class="toc"> + <a href="#link2HCH0011"> CHAPTER XI.— On the revealing page 136 in + "Loves Labour's lost." </a> + </p> + <p class="toc"> + <a href="#link2HCH0012"> CHAPTER XII. — The "Householder of + Stratford." </a> + </p> + <p class="toc"> + <a href="#link2HCH0013"> CHAPTER XIII.— Conclusion, with further + evidences from title pages. </a> + </p> + <p class="toc"> + <a href="#link2HCH0014"> CHAPTER XIV. — Postscriptum. </a> + </p> + <p class="toc"> + <a href="#link2HCH0015"> CHAPTER XV. — APPENDIX. </a> + </p> + <p class="toc"> + <a href="#link2H_4_0017"> ADDENDA ET CORRIGENDA. </a> + </p> + <p> + <br /> + </p> + <p class="toc"> + <a href="#link2H_4_0018"> <b>PROMUS OF FOURMES AND ELEGANCYES BY FRANCIS + BACON.</b> </a> + </p> + <p class="toc"> + <a href="#link2H_PREF"> PREFACE TO PROMUS </a> + </p> + <p class="toc"> + <a href="#link2H_FOOT"> FOOTNOTES. </a> + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0001" id="link2H_4_0001"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h1> + BACON IS SHAKESPEARE. + </h1> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0001" id="link2HCH0001"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER I. — "What does it matter whether the immortal works were + written by + </h2> + <p> + Shakespeare (of Stratford) or by another man who bore (or assumed) the + same name?" + </p> + <p> + Some twenty years ago, when this question was first propounded, it was + deemed an excellent joke, and I find that there still are a great number + of persons who seem unable to perceive that the question is one of + considerable importance. + </p> + <p> + When the Shakespeare revival came, some eighty or ninety years ago, people + said "pretty well for Shakespeare" and the "learned" men of that period + were rather ashamed that Shakespeare should be deemed to be "<i>the</i>" + English poet. + </p> +<pre xml:space="preserve"> + "Three poets in three distant ages born, + Greece, Italy and England did adorn, + . . . . . . . . . . + The force of Nature could no further go, + To make a third she joined the other two." +</pre> + <p> + Dryden did not write these lines in reference to Shakespeare but to + Milton. Where will you find the person who to-day thinks Milton comes + within any measurable distance of the greatest genius among the sons of + earth who was called by the name of Shakespeare? + </p> + <p> + Ninety-two years ago, viz.: in June 1818, an article appeared in <i>Blackwood's + Edinburgh Magazine</i>, under the heading "Time's Magic Lantern. No. V. + Dialogue between Lord Bacon and Shakspeare" [Shakespeare being spelled + Shakspeare]. The dialogue speaks of "Lord" Bacon and refers to him as + being engaged in transcribing the "Novum Organum" when Shakspeare enters + with a letter from Her Majesty (meaning Queen Elizabeth) asking him, + Shakspeare, to see "her own" sonnets now in the keeping of <i>her</i> Lord + Chancellor. + </p> + <p> + Of course this is all topsy turvydom, for in Queen Elizabeth's reign Bacon + was never "Lord" Bacon or Lord Chancellor. + </p> + <p> + But to continue, Shakspeare tells Bacon "Near to Castalia there bubbles + also a fountain of petrifying water, wherein the muses are wont to dip + whatever posies have met the approval of Apollo; so that the slender + foliage which originally sprung forth in the cherishing brain of a true + poet becomes hardened in all its leaves and glitters as if it were carved + out of rubies and emeralds. The elements have afterwards no power over + it." + </p> +<pre xml:space="preserve"> +<i>Bacon</i>. Such will be the fortune of your own + productions. +</pre> +<pre xml:space="preserve"> +<i>Shakspeare</i>. Ah my Lord! Do not encourage me to + hope so. I am but a poor unlettered man, + who seizes whatever rude conceits his own + natural vein supplies him with, upon the + enforcement of haste and necessity; and + therefore I fear that such as are of deeper + studies than myself, will find many flaws in + my handiwork to laugh at both now and + hereafter. +</pre> +<pre xml:space="preserve"> +<i>Bacon</i>. He that can make the multitude laugh and + weep as you do Mr. Shakspeare need not + fear scholars.... More scholarship + might have sharpened your judgment + but the particulars whereof a character is + composed are better assembled by force of + imagination than of judgment.... +</pre> +<pre xml:space="preserve"> +<i>Shakspeare</i>. My Lord thus far I know, that the first + glimpse and conception of a character in + my mind, is always engendered by chance + and accident. We shall suppose, for instance, + that I, sitting in a tap-room, or + standing in a tennis court. The behaviour + of some one fixes my attention.... Thus + comes forth Shallow, and Slender, + and Mercutio, and Sir Andrew Aguecheek. +</pre> +<pre xml:space="preserve"> +<i>Bacon</i>. These are characters who may be found alive + in the streets. But how frame you such + interlocutors as Brutus and Coriolanus? +</pre> +<pre xml:space="preserve"> +<i>Shakspeare</i>. By searching histories, in the first place, + my Lord, for the germ. The filling up + afterwards comes rather from feeling than + observation. I turn myself into a Brutus + or a Coriolanus for the time; and can, at + least in fancy, partake sufficiently of the + nobleness of their nature, to put proper + words in their mouths.... + My knowledge of the tongues is but small, + on which account I have read ancient + authors mostly at secondhand. I remember, + when I first came to London, and + began to be a hanger-on at the theatres, a + great desire grew in me for more learning + than had fallen to my share at Stratford; + but fickleness and impatience, and the + bewilderment caused by new objects, dispersed + that wish into empty air.... +</pre> + <p> + This ridiculous and most absurd nonsense, which appeared in 1818 in <i>Blackwood's + Edinburgh Magazine</i> was deemed so excellent and so <i>instructive</i> + that (slightly abridged) it was copied into "Reading lessons for the use + of public and private schools" by John Pierpont, of Boston, U.S.A., which + was published in London nearly twenty years later, viz., in 1837. + </p> + <p> + As I said before, the dialogue is really all topsy turvydom, for the + writer must have known perfectly well that Bacon was not Lord Keeper till + 1617, the year after Shakspeare's death in 1616, and was not made Lord + Chancellor till 1618, and that he is not supposed to have began to write + the "Novum Organum" before the death of Queen Elizabeth. + </p> + <p> + I have therefore arrived at the conclusion that the whole article was + really intended to poke fun at the generally received notion that the + author of the plays was an <i>un</i>lettered man, who picked up his + knowledge at tavern doors and in taprooms and tennis courts. I would + specially refer to the passage where Bacon asks "How frame you such + interlocutors as Brutus and Coriolanus?" and Shakspeare replies "By + searching histories, in the first place, my Lord, for the germ. The + filling up afterwards comes rather from feeling than observation. I turn + myself into a Brutus or a Coriolanus for the time and can at least in + fancy partake sufficiently of the nobleness of their nature to put proper + words in their mouths." + </p> + <p> + Surely this also must have been penned to open the eyes of the public to + the absurdity of the popular conception of the author of the plays as an + <i>un</i>lettered man who "had small Latin and less Greek"! + </p> + <p> + The highest scholarship not only in this country and in Germany but + throughout the world has been for many years concentrated upon the + classical characters portrayed in the plays, and the adverse criticism of + former days has given place to a reverential admiration for the marvellous + knowledge of antiquity displayed throughout the plays in the presentation + of the historical characters of bygone times; classical authority being + found for nearly every word put into their mouths. + </p> + <p> + What does it matter whether the immortal works were written by Shakspeare + (of Stratford) or by a great and learned man who assumed the name + Shakespeare to "Shake a lance at Ignorance"? We should not forget that + this phrase "Shake a lance at Ignorance" is contemporary, appearing in Ben + Jonson's panegyric in the Shakespeare folio of 1623. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0002" id="link2HCH0002"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER II. — The Shackspere Monument, Bust, and Portrait. + </h2> + <p> + In the year 1909 Mr. George Hookham in the January number of the <i>National + Review</i> sums up practically all that is really known of the life of + William Shakspeare of Stratford as follows:— + </p> +<pre xml:space="preserve"> + 'We only know that he was born at Stratford, of illiterate parents— + (we do <i>not</i> know that he went to school there)—that, when 18-1/2 + years old, he married Anne Hathaway (who was eight years his senior, + and who bore him a child six months after marriage); that he had + in all three children by her (whom with their mother he left, and + went to London, having apparently done his best to desert her before + marriage);—that in London he became an actor with an interest in a + theatre, and was reputed to be the writer of plays;—that he + purchased property in Stratford, to which town he returned;—engaged + in purchases and sales and law-suits (of no biographical interest + except as indicating his money-making and litigious temperament); + helped his father in an application for coat armour (to be obtained + by false pretences); promoted the enclosure of common lands at + Stratford (after being guaranteed against personal loss); made his + will—and died at the age of 52, without a book in his possession, + and leaving nothing to his wife but his second best bed, and this + by an afterthought. No record of friendship with anyone more + cultured than his fellow actors. + + No letter,—only two contemporary reports of his conversation, one + with regard to the commons enclosure as above, and the other in + circumstances not to be recited unnecessarily. + + In a word we know his parentage, birth, marriage, fatherhood, + occupation, his wealth and his chief ambition, his will and his + death, and absolutely nothing else; his death being received with + unbroken and ominous silence by the literary world, not even Ben + Jonson who seven years later glorified the plays <i>in excelsis</i>, + expending so much as a quatrain on his memory.' +</pre> + <p> + [Illustration: Plate III. The Stratford Monument, From Dugdale's + Warwickshire, 1656.] + </p> + <p> + [Illustration: Plate IV. The Stratford Monument as it appears at the + present time.] + </p> + <p> + To this statement by Mr. George Hookham I would add that we know W. + Shakspeare was christened 26th April 1564, that his Will which commences + "In the name of god Amen! I Willim Shackspeare, of Stratford upon Avon, in + the countie of warr gent in perfect health and memorie, god be praysed," + was dated 25th (January altered to) March 1616, and it was proved 22nd + June 1616, Shakspeare having died 23rd April 1616, four weeks after the + date of the Will. + </p> + <p> + We also know that a monument was erected to him in Stratford Church. And + because L. Digges, in his lines in the Shakespeare folio of 1623 says + "When Time dissolves thy Stratford Moniment,"[1] it is supposed that the + monument must have been put up before 1623. But we should remember that as + Mrs. Stopes (who is by no means a Baconian) pointed out in the <i>Monthly + Review</i> of April 1904, the original monument was not like the present + monument which shews a man with a pen in his hand; but was the very + different monument which will be found depicted in Sir William Dugdale's + "Antiquities of Warwickshire," published in 1656. The bust taken from this + is shewn on Plate 5, Page 14, and the whole monument on Plate 3, Page 8. + </p> + <p> + [Illustration: Plate V. The Stratford Bust, from Dugdale's Warwickshire. + Published 1656.] + </p> + <p> + The figure bears no resemblance to the usually accepted likeness of + Shakspeare. It hugs a sack of wool, or a pocket of hops to its belly and + does not hold a pen in its hand. + </p> + <p> + In Plate 6, Page 15, is shewn the bust from the monument as it exists at + the present time, with the great pen in the right hand and a sheet of + paper under the left hand. The whole monument is shewn on Plate 4, Page 9. + </p> + <p> + [Illustration: Plate VI. The Stratford Bust as it appears at the present + time.] + </p> + <p> + The face seems copied from the mask of the so-called portrait in the 1623 + folio, which is shewn in Plate 8. + </p> + <p> + [Illustration: Plate VIII. Full size Facsimile of part of the Title Page + of the 1623 Shakespeare folio] + </p> + <p> + It is desirable to look at that picture very carefully, because every + student ought to know that the portrait in the title-page of the first + folio edition of the plays published in 1623, which was drawn by Martin + Droeshout, is cunningly composed of two left arms and a mask. Martin + Droeshout, its designer, was, as Mr. Sidney Lee tells us, but 15 years of + age when Shakspeare died. He is not likely therefore ever to have seen the + actor of Stratford, yet this is the "Authentic," that is the "Authorised" + portrait of Shakspeare, although there <i>is</i> no question—there + <i>can be</i> no possible question—that in fact it is a cunningly + drawn cryptographic picture, shewing two left arms and a mask. + </p> + <p> + The back of the left arm which does duty for the right arm is shewn in + Plate 10, Page 26. + </p> + <p> + [Illustration: Plate X. The Back of the Left Arm, from Plate VIII] + </p> + <p> + Every tailor will admit that this is not and cannot be the front of the + right arm, but is, without possibility of doubt, the back of the left arm. + </p> + <p> + [Illustration: Plate XI. The Front of the Left Arm, from Plate VIII] + </p> + <p> + [Illustration: (not included in list of plates) The Front of Left Arm. <i>From + Plate VIII</i>. The Back of Left Arm <i>From Plate VIII.</i> Arranged + Tailor fashion, shoulder to shoulder, as in the <i>Gentleman's Tailor + Magazine</i>, April, 1911] + </p> + <p> + Plate 11 shews the front of the left arm, and you at once perceive that + you are no longer looking at the back of the coat but at the front of the + coat. + </p> + <p> + [Illustration: Plate XII. The [Mask] Head, from the [so-called] Portrait, + by Droeshout, in the 1623 Folio] + </p> + <p> + Now in Plate 12, Page 32, you see the mask, especially note that the ear + is a mask ear and stands out curiously; note also how distinct the line + shewing the edge of the mask appears. Perhaps the reader will perceive + this more clearly if he turns the page upside down. + </p> + <p> + [Illustration: Plate XIII. Sir Nicholas Bacon, from the Painting by + Zucchero] + </p> + <p> + Plate 13, Page 33, depicts a real face, that of Sir Nicholas Bacon, eldest + son of the Lord Keeper, from a contemporary portrait by Zucchero, lately + in the Duke of Fife's Collection. This shews by contrast the difference + between the portrait of a living man, and the drawing of a lifeless mask + with the double line from ear to chin. Again examine Plates 8, Pages 20, + 21, the complete portrait in the folio. The reader having seen the + separate portions, will, I trust, be able now to perceive that this + portrait is correctly characterised as cunningly composed of two left arms + and a mask. + </p> + <p> + While examining this portrait, the reader should study the lines that + describe it in the Shakespeare folio of 1623, a facsimile of which is here + inserted. + </p> +<pre xml:space="preserve"> + To the Reader. + + This Figure, that thou here seest put, + It was for gentle Shakespeare cut; + Wherein the Grauer had a strife + with Nature, to out-doo the life: + O, could he but haue drawne his wit + As well in brasse, as he hath hit + His face; the Print would then surpasse + All, that was euer writ in brasse. + But, since he cannot, Reader, looke + Not on his Picture, but his Booke. + B.I. +</pre> + <p> + Plate IX. + </p> + <p> + VERSES ASCRIBED TO BEN JONSON, FROM THE 1623 FOLIO EDITION OF + SHAKESPEARE'S WORKS. + </p> + <p> + B.I. call the ridiculous dummy a "portrait" but describes it as the + "Figure put for" (that is "instead of") and as "the Print," and as "his + Picture"; he likewise most clearly tells us to "looke not on his + (ridiculous) Picture, but (only) his Booke." It seems, therefore, evident + that he knew the secret of Bacon's authorship and intended to inform those + capable of understanding that the graver had done out the life when he + writes, "Out-doo the life." In the New English Dictionary, edited by Sir + J.A.H. Murray, there are upwards of six hundred words beginning with + "Out," and every one of them, with scarcely a single exception, requires, + in order to be fully understood, to be read reversed. Out-law does not + mean outside of the law, but lawed out by a legal process. "Out-doo" was + used only in the sense of "do out"; thus, in the "Cursor Mundi," written + centuries before the days of Elizabeth, we read that Adam was out done [of + Paradise]; and in Drayton's "Barons' Wars," published in 1603, we find in + Book V. s. li. + </p> +<pre xml:space="preserve"> + "That he his foe not able to withstand, + Was ta'en in battle and his eyes out-done." +</pre> + <p> + The graver has indeed done out the life so cleverly that for hundreds of + years learned pedants and others have thought that the figure represented + a real man, and altogether failed to perceive that it was a mere stuffed + dummy clothed in an impossible coat, cunningly composed of the front of + the left arm buttoned on to the back of the same left arm, as to form a + double left armed apology for a man. Moreover, this dummy is surmounted by + a hideous staring mask, furnished with an imaginary ear, utterly unlike + anything human, because, instead of being hollowed in, it is rounded out + something like the rounded outside of a shoe-horn, in order to form a cup + which would cover and conceal any real ear that might be behind it. + </p> + <p> + Perhaps the reader will more fully understand the full meaning of B.I.'s + lines if I paraphrase them as follows:— + </p> +<pre xml:space="preserve"> + To the Reader. + + The dummy that thou seest set here, + Was put instead of Shake-a-speare; + Wherein the Graver had a strife + To extinguish all of Nature's life; + O, could he but have drawn his mind + As well as he's concealed behind + His face; the Print would then surpasse + All, that was ever writ in brasse. + But since he cannot, do not looke + On his mas'd Picture, but his Booke. +</pre> + <p> + Do out appears in the name of the little instrument something like a pair + of snuffer which was formerly used to extinguish the candles and called a + "Doute." Therefore I have correctly substituted "extinguished" for + "out-doo." At the beginning I have substituted "dummy" for "figure" + because we are told that the figure is "put for" (that is, put instead of) + Shakespeare. In modern English we frequently describe a chairman who is a + mere dummy as a figurehead. Then "wit" in these lines means absolutely the + same as "mind," which I have used in its place because I think it refers + to the fact that upon the miniature of Bacon in his 18th year, which was + painted by Hilliard in 1578, we read:—"Si tabula daretur digna + animum mallem." This line is believed to have been written at the time by + the artist, and was translated in "Spedding":—"If one could but + paint his mind." + </p> + <p> + In March, 1911, the <i>Tailor and Cutter</i> newspaper stated that the + Figure, put for Shakepeare in the 1623 folio, was undoubtedly clothed in + an impossible coat, composed of the back and the front of the same left + arm. And in the following April the <i>Gentleman's Tailor Magazine</i>, + under the heading of a "Problem for the Trade," shews the two halves of + the coat as printed on page 28a, and says: "It is passing strange that + something like three centuries should have been allowed to elapse before + the tailors' handiwork should have been appealed to in this particular + manner." + </p> + <p> + "The special point is that in what is known as the authentic portrait of + William Shakespeare, which appears in the celebrated first folio edition, + published in 1623, a remarkable sartorial puzzle is apparent." + </p> + <p> + "The tunic, coat, or whatever the garment may have been called at the + time, is so strangely illustrated that the right-hand side of the forepart + is obviously the left-hand side of the backpart; and so gives a harlequin + appearance to the figure, which it is not unnatural to assume was + intentional, and done with express object and purpose." + </p> + <p> + "Anyhow, it is pretty safe to say that if a Referendum of the trade was + taken on the question whether the two illustrations shown above represent + the foreparts of the same garments, the polling would give an unanimous + vote in the negative." + </p> + <p> + "It is outside the province of a trade journal to dogmatise on such a + subject; but when such a glaring incongruity as these illustrations show + is brought into court, it is only natural that the tailor should have + something to say; or, at any rate, to think about." + </p> + <p> + This one simple fact which can neither be disputed nor explained away, + viz., that the "Figure" put upon the title-page of the First Folio of the + Plays in 1623 to represent Shakespeare, is a doubly left-armed and stuffed + dummy, surmounted by a ridiculous putty-faced mask, disposes once and for + all of any idea that the mighty Plays were written by the illiterate clown + of Stratford-upon-Avon. + </p> +<pre xml:space="preserve"> + "He hath <i>hit</i> his face" +</pre> + <p> + It is thought that <i>hit</i> means <i>hid</i> as in Chaucer's Squiere's + Tale, line 512 etc. + </p> +<pre xml:space="preserve"> + "Right as a serpent <i>hit</i> him under floures + Til he may seen his tyme for to byte" +</pre> + <p> + If indeed "hit" be intended to be read as "hid" then these ten lines are + no longer the cryptic puzzle which they have hitherto been considered to + be, but in conjunction with the portrait, they clearly reveal the true + facts, that the real author is writing left-handedly, that means secretly, + in shadow, with his face hidden behind a mask or pseudonym. + </p> + <p> + We should also notice "out-doo" is spelled with a hyphen. In the language + of to-day and still more in that of the time of Shakespeare all, or nearly + all, words beginning with <i>out</i> may be read reversed, out-bar is bar + out, out-bud is bud out, out-crop is crop out, out-fit is fit out, and so + on through the alphabet. + </p> + <p> + If therefore we may read "out-doo the life" as "doo out the life" meaning + "shut out the real face of the living man" we perceive that here also we + are told "that the real face is hidden." + </p> + <p> + The description, with the head line "To the Reader" and the signature + "B.I.," forms twelve lines, the words of which can be turned into numerous + significant anagrams, etc., to which, however, no allusion is made in the + present work. But our readers will find that if all the letters are + counted (the two v.v.'s in line nine being counted as four letters) they + will amount to the number 287. In subsequent chapters a good deal is said + about this number, but here we only desire to say that we are "informed" + that the "Great Author" intended to reveal himself 287 years after 1623, + the date when the First Folio was published, that is in the present year, + 1910, when very numerous tongues will be loosened. + </p> + <p> + Examine once more the original Stratford Bust, Plate 5, Page 14, and the + present Stratford Bust, Plate 6, Page 15, <i>with the large pen in the + right hand</i>. + </p> + <p> + If the Stratford actor were indeed the author of the plays it was most + appropriate that he should have a pen in his hand. But in the original + monument as shewn in Plate 3, Page 8, the figure hugs a sack of wool or a + pocket of hops or may be a cushion. For about 120 years, this continued to + be the Stratford effigy and shewed nothing that could in any way connect + the man portrayed, with literary work. I believe that this was not + accidental. I think that everybody in Stratford must have known that + William "Sha<i>c</i>kspeare" could not write so much as his own name, for + I assert that we possess nothing which can by any reasonable possibility + be deemed to be his signature. + </p> + <p> + [Illustration: Decorative Chapter Heading] + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0003" id="link2HCH0003"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER III. — The so-called "Signatures." + </h2> + <p> + In Plate 14, Page 36, are shewn the five so-called signatures. These five + being the only pieces of writing in the world that can, even by the most + ardent Stratfordians, be supposed to have been written by Shakspeare's + pen; let us consider them carefully. The Will commences "In the name of + God Amen I Willum Shackspeare." It is written upon three sheets of paper + and each sheet bears a supposed signature. The Will is dated in Latin + "Vicesimo quinto die [Januarij] Mtij Anno Regni Dni nri Jacobi, nunc R + Anglie, &c. decimo quarto & Scotie xlix° annoq Dni 1616", or + shortly in English 25th March 1616. + </p> + <p> + Shakspeare died 23rd April 1616 just four weeks after publishing his will. + </p> + <p> + I say after "PUBLISHING his Will" advisedly, for such is the attestation, + viz., "Witnes to the publyshing hereof," + </p> +<pre xml:space="preserve"> + "Fra: Collyns + Julius Shawe + John Robinson + Hamnet Sadler + Robert Whattcott" +</pre> + <p> + Nothing is said about the witnessing of the signing hereof. The Will might + therefore have been, and I myself am perfectly certain that it was, marked + with the name of William Shakspeare by the Solicitor, Fra (ncis) Collyns, + who wrote the body of the Will. + </p> + <p> + [Illustration: Plate XIV. The Five so-called "Shakespeare Signatures." THE + FIVE SO-CALLED "SHAKESPEARE SIGNATURES."] + </p> + <p> + He also wrote the names of the other witnesses, which are all in the same + hand-writing as the Will; shewing that Shakspeare's witnesses were also + unable to write their names. + </p> + <p> + This fact, that Shakspeare's name is written by the solicitor, is + conclusively proved by the recent article of Magdalene Thumm-Kintzel in + the Leipzig magazine, <i>Der Menschenkenner</i>, which was published in + January 1909. + </p> + <p> + In this publication, photo reproductions of certain letters in the body of + the Will, and in the so-called Shakspeare signatures are placed side by + side, and the evidence is irresistible that they are written by the same + hand. Moreover when we remember that the Will commences "I Willim Sha<i>c</i>kspeare" + with a "c" between the "a" and "k," the idea that Shakspeare himself wrote + his own Will cannot be deemed worthy of serious consideration. The whole + Will is in fact in the handwriting of Francis Collyns, the Warwick + solicitor, who added the attestation clause. + </p> + <p> + I myself was sure that the solicitor had added the so-called signatures, + when, many years ago, I examined under the strongest magnifying glasses + the Will at Somerset House. + </p> + <p> + Look first at the upper writings and never again call them "signatures." + The top one is on the first page of the Will, the second on the second + page, the third on the last page of the Will. + </p> + <p> + The original of the top one has been very much damaged but the "W" remains + quite clear. Look first only at the "W's". If the writings were signatures + what could induce a man when signing his last Will to make each "W" as + different from the others as possible, and why is the second Christian + name written Willm? + </p> + <p> + Compare also the second and third "Shakspeare" and note that every letter + is formed in a different manner. Compare the two "S's", next compare the + two "h's", the "h" of the second begins at the bottom, the "h" of the + third begins at the top, the same applies to the next letter the "a", so + also with respect to the "k's "; how widely different these are. + </p> + <p> + Plate 14 shews at the bottom two other names also. These are taken, the + one on the left from a deed of purchase of a dwelling house in Blackfriars + dated March 10th 1612-13 (now in the City Library of the Corporation of + London); the other on the right is from a mortgage of the same property + executed on the following day, viz: March 11th 1612-13, which is now in + the British Museum. + </p> + <p> + Neither of these documents states that it was "signed" but only says that + it was "sealed," and it was at that date in no way necessary that any + signatures should be written over the seals, but the clerks might and + evidently did, place upon these deeds an abbreviated name of William + Shakspeare over the seal on each document. In the case of the other two + parties to the documents, the signatures are most beautifully written and + are almost absolutely identical in the two deeds. + </p> + <p> + Look at these two supposititious signatures. To myself it is difficult to + imagine that anyone with eyes to see could suppose them to be signatures + by the same hand. + </p> + <p> + [Illustration: The Signatures (so called) of "Shakespeare," which are the + best possible reproductions of the originals, and shew that all are + written in "lawscript" by skilled penman.] + </p> + <p> + Note on the so-called "Signatures." + </p> + <p> + When part of the purchase money is what is commonly called "left on + mortgage," the mortgage deed is always dated one day <i>after</i>, but is + always signed one moment <i>before</i>, the purchase deed, because the + owner will not part with his property before he receives his security. + </p> + <p> + The Shakespeare purchase deed and the mortgage deed were therefore both + signed at the same time, in the same place, with the same pen, and the + same ink. + </p> + <p> + This is evidently true with respect to the signatures of Wm. Johnson and + Jno. Jackson, the other parries to both of the deeds. + </p> + <p> + But as I wrote to the City authorities and the British Museum authorities, + it would be impossible to discover a scoundrel who would venture to + perjure himself and falsely swear that it was even remotely possible that + the two supposed signature of Wm. Shakespeare could have been written at + the same time, in the same place, with the same pen, and the same ink, by + the <i>same hand</i>. + </p> + <p> + They are widely different, one having been written by the law clerk of the + seller, the other by the law clerk of the purchaser. + </p> + <p> + According to the law of England, anyone may (by request) attach any + person's name to any document, and if that person touch it, any third + person may witness it as a signature. + </p> + <p> + Some years ago by the courtesy of the Corporation of London, the Librarian + and the Chairman of the Library Committee carried the Purchase Deed to the + British Museum to place it side by side with the Mortgage Deed there. + </p> + <p> + After they had with myself and the Museum Authorities most carefully + examined the two deeds, the Librarian of the City Corporation said to me, + there is no reason to suppose that the Corporation deed has upon it the + signature of Wm. Shakespeare, and the British Museum Authorities likewise + told me that they did not think that the Museum Mortgage Deed had upon it + a signature of William Shakespeare. + </p> + <p> + The more you examine the whole five the more you will be certain, as the + writer is, after the most careful study of the Will and of the Deeds, that + not one of the five writings is a "signature," or pretends to be a + "signature," and that therefore there is a probability, practically + amounting to a certainty, that the Stratford Actor could not so much as + manage to scrawl his own name. + </p> + <p> + No! We possess not a scrap of writing, not even an attempt at a signature, + [see also Chapter XIV., p. 161] that can be reasonably supposed to be + written by the Stratford <i>gentleman</i>. + </p> + <p> + He is styled "gentle Shakespeare": this does not refer to anything + relating to his character or to his manners but it means that possessing a + coat of arms he was legally entitled to call himself a "gentleman." + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0004" id="link2HCH0004"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER IV. — Contemporary Allusions to Shackspere. + </h2> + <p> + Shakspeare the Actor purchased New Place at Stratford-on-Avon in 1597 for + £60 and he became a "gentleman" and an esquire when he secured a grant of + arms in 1599. + </p> + <p> + How did the stage "honour" the player who had bought a coat of arms and + was able to call himself a "gentleman"? + </p> + <p> + Three contemporary plays give us scenes illustrating the incident: + </p> + <p> + 1st. Ben Jonson's "Every man out of his humour" which was acted in 1599 + the very year of Shakspeare's grant of arms. + </p> + <p> + 2nd. Shakespeare's "As you like it" which was entered at Stationers' Hall + in 1600, although no copy is known to exist before the folio of 1623. + </p> + <p> + 3rd. "The Return from Parnassus" which was acted at St. John's College, + Cambridge in 1601, though not printed till 1606. + </p> + <p> + In addition to these three plays, there is a fourth evidence of the way in + which the Clown who had purchased a coat of arms was regarded, in a + pamphlet or tract of which only one copy is known to exist. This tract + which can be seen in the Rylands Library, Manchester, used to be in Lord + Spencer's library at Althorp, and is reprinted by Halliwell-Phillipps in + "Outlines of the Life of Shakespeare," 1889, Vol. I, pages 325-6. + </p> + <p> + [Illustration: PLATE XV. Bacon's Crest from the Binding of a Presentation + Copy of the Novum Organum, 1620.] + </p> + <p> + To commence with Ben Jonson's "Every man out of his humour." The clown who + had purchased a coat of arms is said to be the brother of Sordido (a + miser), and is described as an "essential" clown (that is an uneducated + rustic), and is styled Sogliardo which is the Italian for the filthiest + possible name. + </p> + <p> + The other two characters in the scene (act iii. sc. I) are Puntarvolo who, + as his crest is a <i>Boar</i>, must be intended to represent Bacon;[2] and + Carlo Buffone who is a buffoon or jester. + </p> + <p> + Enter Sogliardo (the filth), who is evidently the Stratford Clown, who has + just purchased a coat of arms:— + </p> +<pre xml:space="preserve"> + Actus Tertius, Scena Prima, + Sogliardo, Punt., Carlo. + + <i>Sog</i>. Nay I will haue him, I am resolute for that, + by this Parchment Gentlemen, I haue ben + so toil'd among the Harrots [meaning + <i>Heralds</i>] yonder, you will not beleeue, they + doe speake i' the straungest language, and + giue a man the hardest termes for his money, + that euer you knew. + + <i>Car</i>. But ha' you armes? ha' your armes? + + <i>Sog</i>. Yfaith, I thanke God I can write myselfe + Gentleman now, here's my Pattent, it cost + me thirtie pound by this breath. + + <i>Punt</i>. A very faire Coat, well charg'd and full of + Armorie. + + <i>Sog</i>. Nay, it has, as much varietie of colours in it, + as you haue seene a Coat haue, how like you + the Crest, Sir? + + <i>Punt</i>. I vnderstand it not well, what is't? + + <i>Sog</i>. Marry Sir, it is your Bore without a head + Rampant. + + <i>Punt</i>. A Bore without a head, that's very rare. + + <i>Car</i>. I, [Aye] and Rampant too: troth I commend + the Herald's wit, he has deciphered him well: + A Swine without a head, without braine, wit, + anything indeed, Ramping to Gentilitie. You + can blazon the rest signior? can you not? + . . . . . . + . . . . . . + + <i>Punt</i>. Let the word be, <i>Not without mustard</i>, your + Crest is very rare sir. +</pre> + <p> + Shakspeare's "word" that is his "motto" was—non sanz droict—not + without right—and I desire the reader also especially to remember + Sogliardo's words "Yfaith I thanke God" a phrase which though it appears + in the quartos is changed in the 1616 Ben Jonson folio into "I thank <i>them</i>" + which has no meaning. + </p> + <p> + Next we turn to Shakespeare's "As you like it." This play though entered + at Stationers' Hall in 1600 and probably played quite as early is not + known in print till it appeared in the folio of 1623. The portion to which + I wish to refer is the commencement of Actus Quintus, Scena Prima. + </p> +<pre xml:space="preserve"> + Act 5, Scene i. + Enter Clowne and Awdrie. + + <i>Clow</i>. We shall finde a time <i>Awdrie</i>, patience gentle + Awdrie. + + <i>Awd</i>. Faith the priest was good enough, for all the + olde gentlemans saying. + + <i>Clow</i>. A most wicked Sir <i>Oliver, Awdrie</i>, a most vile + <i>Mar-text.</i> But <i>Awdrie</i>, there is a youth heere + in the forrest layes claime to you. + + <i>Awd</i>. I, I know who 'tis: he hath no interest in mee + in the world: here comes the man you meane. + + (Enter William) + + <i>Clo</i>. It is meat and drinke to me to see a clowne, + by my troth, we that haue good wits, haue + much to answer for: we shall be flouting: we + cannot hold. + + <i>Will</i>. Good eu'n <i>Audrey.</i> + + <i>Awd</i>. God ye good eu'n <i>William</i>. + + <i>Will</i>. And good eu'n to you sir. + + <i>Clo</i>. Good eu'n gentle friend. Couer thy head, + couer thy head: Nay prethee bee couer'd. + How olde are you Friend? + + <i>Will</i>. Fiue and twentie Sir. + + <i>Clo</i>. A ripe age: Is thy name <i>William</i>? + + <i>Will</i>. <i>William</i>, Sir. + + <i>Clo</i>. A faire name. Was't borne i' the Forrest + heere? + + <i>Will</i>. I [Aye] Sir, I thanke God. + + <i>Clo</i>. Thanke God: A good answer: Art rich? + + <i>Will</i>. 'Faith Sir, so, so. + + <i>Clo</i>. So, so, is good, very good, very excellent + good: and yet it is not, it is but so, so: Art + thou wise? + + <i>Will</i>. I [Aye] sir, I haue a prettie wit. + + <i>Clo</i>. Why, thou saist well. I do now remember + a saying: The Foole doth thinke he is wise, + but the wise man knowes himselfe to be a + Foole.... You do loue this maid? + + <i>Will</i>. I do Sir. + + <i>Clo</i>. Giue me your hand: art thou Learned? + + <i>Will</i>. No Sir. + + <i>Clo</i>. Then learne this of me, To haue is to haue. + For it is a figure in Rhetoricke, that drink + being powr'd out of a cup into a glasse, by + filling the one, doth empty the other. For all + your Writers do consent, that <i>ipse</i> is hee: + now you are not <i>ipse</i>, for I am he. + + <i>Will</i>. Which he Sir? + + <i>Clo</i>. He Sir, that must marrie this woman. +</pre> + <p> + Firstly I want to call your attention to Touchstone the courtier who is + playing clown and who we are told "uses his folly like a stalking horse + and under the presentation of that he shoots his wit." Notice that + Touchstone refuses to be married to Awdrey (who probably represents the + plays of Shakespeare) by a <i>Mar-text</i>, and she declares that the + Clown William "has no interest in mee in the world." William—shall + we say Shakspeare of Stratford?—enters and is greeted as "gentle" (<i>i. + e</i>. he is possessed of a coat of arms). He says "Thank God" he was born + in the forest here (Ardennes, very near in sound to Arden). "Thank God" is + repeated by Touchstone and as it is the same phrase that is used by + Sogliardo in Ben Jonson's play I expect that it was an ejaculation very + characteristic of the real man of Stratford and I am confirmed in this + belief because in the folio edition of Ben Jonson's plays the phrase is + changed to "I thank <i>them</i>" which has no meaning. + </p> + <p> + The clown of Ardennes is rich but only rich for a clown (Shakspeare of + Stratford was not really rich, New Place cost only £60). + </p> + <p> + Asked if he is wise, he says "aye," that is "yes," and adds that he has "a + pretty wit," a phrase we must remember that is constantly used in + reference to the Stratford actor. Touchstone mocks him with a paraphrase + of the well-known maxim "If you are wise you are a Foole if you be a Foole + you are wise" which is to be found in Bacon's "Advancement of Learning" + Antitheta xxxi. Then he asks him "<i>Art thou learned</i>" and William + replies "<i>No sir</i>." This means, <i>unquestionably</i>, as every + lawyer must know, that William replies that he cannot <i>read</i> one line + of print. I feel sure the man called Shackspeare of Stratford was an + uneducated rustic, never able to read a single line of print, and that + this is the reason why no books were found in his house, this is the + reason why his solicitor, Thomas Greene, lived with him in his house at + New Place (Halliwell-Phillipps: Outlines, 1889, Vol. i, p. 226);—a + well-known fact that very much puzzles those who do not realize the depth + of Shakspeare's illiteracy. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0005" id="link2HCH0005"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER V. — "The Return from Parnassus" and "Ratsei's Ghost." + </h2> + <p> + The next play to which attention must be called is "The Return from + Parnassus" which was produced at Cambridge in 1601 and was printed in 1606 + with the following title page:— + </p> +<pre xml:space="preserve"> + The Returne from Parnassus + or + The Scourge of Simony. + Publiquely acted by the Students + in Saint Johns Colledge in + Cambridge. + + At London + Printed by G. Eld for John Wright, and + are to bee sold at his shop at + Christchurch Gate. + 1606. +</pre> + <p> + The portion to which I wish to direct attention is:— + </p> +<pre xml:space="preserve"> + Actus 5, Scena i. + + <i>Studioso</i>. Fayre fell good <i>Orpheus</i>, that would rather be + King of a mole hill, then a Keysars slaue: + Better it is mongst fidlers to be chiefe, + Then at plaiers trencher beg reliefe. + But ist not strange this mimick apes should prize + Vnhappy Schollers at a hireling rate. + Vile world, that lifts them vp to hye degree, + And treades vs downe in groueling misery. + <i>England</i> affordes those glorious vagabonds, + That carried earst their fardels on their backes, + Coursers to ride on through the gazing streetes + Sooping it in their glaring Satten sutes, + And Pages to attend their maisterships: + With mouthing words that better wits haue framed, + They purchase lands, and now Esquiers are made. + + <i>Philomusus</i>. What ere they seeme being euen at the best + They are but sporting fortunes <i>scornfull</i> iests. +</pre> + <p> + Can these last two lines refer to Shakspeare the actor seeming to be the + poet? Note that they are spoken by Philomusus that is friend of the poetic + muse. Mark also the words "this mimick apes." Notice especially "with + mouthing words that <i>better</i> wits haue framed, they purchase lands + and now Esquiers are made" i.e. get grants of arms. Who at this period + among mimics excepting W. Shakspeare of Stratford purchased lands and + obtained also a grant of arms? + </p> + <p> + That this sneer "mouthing words that better wits have framed" must have + been aimed at Shakspeare is strongly confirmed by the tract (reprinted by + Halliwell-Phillipps in his "Outlines of Shakespeare," 1889, Vol. I, p. + 325) which is called "Ratsei's Ghost or the second part of his mad prankes + and Robberies." + </p> + <p> + This pamphlet bears no date, but was entered at Stationers' Hall May 31st + 1605. There is only a single copy in existence, which used to be in Earl + Spencer's library at Althorp but is now in the Rylands; Library at + Manchester. As I said, it is reprinted by Halliwell-Phillipps, and + Stratfordians are obliged to agree with him that the reference is + unquestionably to "Wm Shakespeare of Stratford." The most important part + which is spoken by Ratsei the robber to a country player is as follows:— + </p> +<pre xml:space="preserve"> + <i>Ratsei</i>. And for you sirra, saies hee to the chiefest + of them, thou hast a good presence upon a + stage; methinks thou darkenst thy merite + by playing in the country. Get thee to + London, for if one man were dead, they will + have much neede of such a one as thou art. + There would be none in my opinion fitter + then thyselfe to play his parts. My conceipt + is such of thee, that I durst venture all the + mony in my purse on thy head to play + Hamlet with him for a wager. There thou + shalt learn to be frugall,—for players were + never so thriftie as they are now about + London—and to feed upon all men, to let + none feede upon thee; to make thy hand a + stranger to thy pocket, thy hart slow to + performe thy tongues promise, and when + thou feelest thy purse well lined, buy thee + some place of lordship in the country, that, + growing weary of playing, thy mony may + there bring thee to dignitie and reputation; + then thou needest care for no man, nor not + for them that before made thee prowd + with speaking their words upon the stage. +</pre> + <p> + The whole account of buying a place in the country, of feeding upon all + men (that is lending money upon usury) of never keeping promises, of never + giving anything in charity, agrees but too well with the few records we + possess of the man of Stratford. And therefore Stratfordians are obliged + to accept Halliwell-Phillipps' dictum that this tract called Ratsei's + Ghost refers to the actor of Stratford and that "<i>he</i> needed not to + care for them that before made <i>him</i> proud with speaking <i>their</i> + words upon the stage." How is it possible that Stratfordians can continue + to refuse to admit that the statement in the "Return from Pernassus" "with + mouthing words that better wits haue framed they purchase lands and now + Esquiers are made" must also refer to the Stratford Actor? + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0006" id="link2HCH0006"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER VI. — Shackspere's Correspondence! + </h2> + <p> + There is only a single letter extant addressed to Shakspeare, and this + asks for a loan of £30 It is dated 25th October 1598, and is from Richard + Quiney. It reads + </p> +<pre xml:space="preserve"> + "Loveinge Countreyman I am bolde of vow as of a ffrende, + craveinge yowr helpe wth xxxll vppon mr Bushells & my + securytee or mr Myttons wth me. mr Rosswell is nott come + to London as yeate & I have especiall cawse. yow shall + ffrende me muche in helpeinge me out of all the debttes I + owe in London I thancke god & muche quiet my mynde wch + wolde nott be indebeted I am nowe towardes the Cowrte in + hope of answer for the dispatche of my Buysenes. yow shall + nether loase creddytt nor monney by me the Lorde wyllinge + and nowe butt perswade yowr selfe soe as I hope & yow shall + nott need to feare butt wth all hartie thanckefullenes I wyll + holde my tyme & content yowr ffrende & yf we Bargaine + farther yow shalbe the paie mr yowr selfe. my tyme biddes me + hasten to an ende & soe I committ thys [to] yowr care & hope + of yowr helpe. I feare I shall nott be backe thys night ffrom + the Cowrte. haste, the Lorde be wth yow & with us all + amen + ffrom the Bell in Carter Lane the 25 October 1598. + yowrs in all kyndenes + Ryc. Quyney + + (<i>addressed</i>) + + LS To my Loveinge good ffrend + & contreymann mr wm + Shackespere d[e]l[ive]r thees." +</pre> + <p> + This letter is the only letter known to exist which was ever addressed to + William Shackspere, the illiterate householder of Stratford, who as has + been pointed out in these pages was totally unable to read a line of + print, or to write even his own name. There are however in existence + three, and three only, contemporary letters referring in any way to him, + and these are not about literature with which the Stratford man had + nothing whatever to do—but about mean and sordid small business + transactions. + </p> + <p> + One is from Master Abraham Sturley, who writes in 1598 to a friend in + London in reference to Shakspeare lending "Some monei on some od yarde + land or other att Shottri or neare about us." + </p> + <p> + Another is dated Nov. 4th 1598, and is from the same Abraham Sturley to + Richard Quiney in which we are told that "our countriman Mr Wm Shak would + procure us monei wc I will like of." + </p> + <p> + A third from Adrian Quiney written (about 1598-1599) to his son Rycharde + Quiney in which he says "yff yow bargen with Wm Sha or receve money + therfor, brynge youre money homme." + </p> + <p> + There exists no contemporary letter from anyone to anyone, referring to + the Stratford actor as being a poet or as being in any way connected with + literature. But from the Court Records we learn that; + </p> + <p> + In 1600 Shakespeare brought action against John Clayton in London for £7 + and got judgment in his favour. He also sued Philip Rogers of Stratford + for two shillings loaned. + </p> + <p> + In 1604 he sued Philip Rogers for several bushels of malt sold to him at + various times between March 27th and the end of May of that year, + amounting in all to the value of £1. 15s. 10d. The poet a dealer in malt? + </p> + <p> + In 1608 he prosecuted John Addenbroke to recover a debt of £6 and sued his + surety Horneby. + </p> + <p> + Halliwell-Phillipps tells us that "The precepts as appears from memoranda + in the originals, were issued by the poet's solicitor Thomas Greene who + was then residing under some unknown conditions[3] at New Place." + </p> + <p> + Referring to these sordid stories, Richard Grant White, that strong + believer in the Stratford man, says in his "Life and genius of William + Shakespeare," p. 156 "The pursuit of an impoverished man for the sake of + imprisoning him and depriving him both of the power of paying his debts + and supporting himself and his family, is an incident in Shakespeare's + life which it requires the utmost allowance and consideration for the + practice of the time and country to enable us to contemplate with + equanimity—satisfaction is impossible." + </p> + <p> + "The biographer of Shakespeare must record these facts because the + literary antiquaries have unearthed and brought them forward as new + particulars of the life of Shakespeare. We hunger and receive these husks; + we open our mouths for food and we break our teeth against these stones." + </p> + <p> + Yes! The world has broken its teeth too long upon these stones to continue + to mistake them for bread. And as the accomplished scholar and poetess the + late Miss Anna Swanwick once declared to the writer, she knew nothing of + the Bacon and Shakespeare controversy, but Mr. Sidney Lee's "Life of + Shakespeare" had convinced her that his man never wrote the plays. And + that is just what everybody else is saying at Eton, at Oxford, at + Cambridge, in the Navy, in the Army, and pretty generally among + unprejudiced people everywhere, who are satisfied, as is Mark Twain, that + the most learned of works could not have been written by the most <i>un</i>learned + of men. + </p> + <p> + Yes! It does matter that the "Greatest Birth of Time" should no longer be + considered to have been the work of the unlettered rustic of Stratford; + and the hour has at last come when it should be universally known that + this mighty work was written by the man who had taken all knowledge for + his province, the man who said "I have, though in a despised weed [that is + under a Pseudonym] procured the good of all men"; the man who left his + "name and memory to men's charitable speeches, and to foreign nations, and + the next ages." + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0007" id="link2HCH0007"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER VII. — Bacon acknowledged to be a Poet. + </h2> + <p> + In discussing the question of the Authorship of the plays many people + appear to be unaware that Bacon was considered by his contemporaries to be + a great poet. It seems therefore advisable to quote a few witnesses who + speak of his pre-eminence in poetry. + </p> + <p> + In 1645 there was published "The Great Assises holden in Parnassus by + Apollo and his assessours" a facsimile of the title of which is given on + page 57. This work is anonymous but is usually ascribed to George Withers + and in it Bacon as Lord Verulan is placed first and designated "Chancellor + of Parnassus" that is "Greatest of Poets." + </p> + <p> + After the title, the book commences with two pages of which facsimiles are + given on pages 58, 59. + </p> + <p> + [Illustration: Plate XVI. Facsimile Title Page] + </p> + <p> + [Illustration: Plate XVII. Facsimile of Page III of "The Great Assises"] + </p> + <p> + [Illustration: Plate XVIII Facsimile of Page IV of "The Great Assises"] + </p> + <p> + Apollo appears at the top, next comes Lord Verulan as Chancellor of + Parnassus, Sir Philip Sidney and other world renowned names follow and + then below the line side by side is a list of the jurors and a list of the + malefactors. + </p> + <p> + A little examination will teach us that the jurors are really the same + persons as the malefactors and that we ought to read right across the page + as if the dividing line did not exist. + </p> + <p> + Acting on this principle we perceive that George Wither [Withers] is + correctly described as Mercurius Britanicus. Mr. Sidney Lee tells us that + Withers regarded "Britain's Remembrancer" 1628 and "Prosopopaeia + Britannica" 1648 as his greatest works. + </p> + <p> + Thomas Cary [Carew] is correctly described as Mercurias Aulicus—Court + Messenger. He went to the French Court with Lord Herbert and was made + Gentleman of the Privy Chamber by Charles I who presented him with an + estate at Sunninghill. + </p> + <p> + Thomas May is correctly described as Mercurius Civicus. He applied for the + post of Chronologer to the City of London and James I wrote to the Lord + Mayor (unsuccessfully) in his favour. + </p> + <p> + Josuah Sylvester is correctly described as The Writer of Diurnals. He + translated Du Bartas "Divine Weekes," describing day by day, that is + "Diurnally," the creation of the world. + </p> + <p> + Georges Sandes [Sandys] is The Intelligencer. He travelled all over the + world and his book of travels was one of the popular works of the period. + </p> + <p> + Michael Drayton is The Writer of Occurrences. Besides the "Poly-Olbion," + he wrote "England's Heroicall Epistles" and "The Barron's Wars." + </p> + <p> + Francis Beaumont is The Writer of Passages. This exactly describes him as + he is known as writing in conjunction with Fletcher. "Beamount and + Fletcher make one poet, they single dare not adventure on a play." + </p> + <p> + William Shakespeere is "The writer of weekely accounts." This exactly + describes him, for the only literature for which he was responsible was + the accounts sent out by his clerk or attorney. + </p> + <p> + Turning over the pages of the little book on page 9 the cryer calls out + "Then Sylvester, Sands, Drayton, Beaumont, Fletcher, Massinger, + Shakespeare (sic) and Heywood, Poets good and true." This statement seems + to be contradicted so far as Shakespeare is concerned by the defendant who + says on page 31 "Shakespear's (sic) a mimicke" (that is a mere actor not a + poet). + </p> +<pre xml:space="preserve"> + "Beamount and Fletcher make one poet, they + Single, dare not adventure on a play." +</pre> + <p> + Each of these statements seems to be true. And on Page 33 Apollo[4] says + </p> +<pre xml:space="preserve"> + "We should to thy exception give consent + But since we are assur'd, 'tis thy intent, + By this refusall, onely to deferre + That censure, which our justice must conferre + Upon thy merits; we must needs decline + From approbation of these pleas of thine." +</pre> + <p> + That is, Apollo <i>admits</i> that Shakespeare is not a poet but a + "mimic," the word to which I called your attention in the "Return from + Parnassus" in relation to "this mimick apes." In this little book + Shakespeare's name occurs three times, and on each occasion is spelled + differently. + </p> + <p> + This clear statement that the actor Shakespeare was not a poet but only a + tradesman who sent out his "weekly accounts" is, I think, here for the + first time pointed out. It seems very difficult to conceive of a much + higher testimony to Bacon's pre-eminence in poetry than the fact that he + is placed as "Chancellor of Parnassus" under Apollo. But a still higher + position is accorded to him when it is suggested that Apollo feared that + he himself should lose his crown which would be placed on Bacon's head. + </p> + <p> + Walter Begbie in "Is it Shakespeare?" 1903, p. 274, tells us:—That + Thomas Randolf, in Latin verses published in 1640 but probably written + some 14 years earlier says that Phoebus was accessory to Bacon's death + because he was afraid lest Bacon should some day come to be crowned King + of poetry or the Muses. Farther on the same writer declares that as Bacon + "was himself a singer" he did not need to be celebrated in song by others, + and that George Herbert calls Bacon the colleague of Sol [Phoebus Apollo]. + </p> + <p> + George Herbert was himself a dramatic poet and Bacon dedicated his + "Translation of the Psalms" to him "who has overlooked so many of my + works." + </p> + <p> + Mr. Begbie also tells us that Thomas Campion addresses Bacon thus "Whether + the thorny volume of the Law or the Schools or the <i>Sweet Muse</i> + allure thee." + </p> + <p> + It may be worth while here to quote the similar testimony which is borne + by John Davies of Hereford who in his "Scourge of Folly" published about + 1610, writes + </p> +<pre xml:space="preserve"> + "To the royall, ingenious, and all-learned + Knight,— + + Sr Francis Bacon. + + Thy <i>bounty</i> and the <i>Beauty</i> of thy Witt + Comprisd in Lists of <i>Law</i> and learned <i>Arts</i>, + Each making thee for great <i>Imployment</i> fitt + Which now thou hast, (though short of thy + deserts) + Compells my pen to let fall shining <i>Inke</i> + And to bedew the <i>Baies</i> that <i>deck</i> thy <i>Front</i>;— + And to thy health in <i>Helicon</i> to drinke + As to her <i>Bellamour</i> the <i>Muse</i> is wont: + For thou dost her embozom; and dost vse + Her company for sport twixt grave affaires; + So vtterst Law the liuelyer through thy <i>Muse</i>. + And for that all thy <i>Notes</i> are sweetest <i>Aires</i>; + <i>My Muse thus notes thy worth in eu'ry Line, + With yncke which thus she sugers; so, to shine</i>." +</pre> + <p> + But nothing can much exceed in value the testimony of Ben Jonson who in + his "Discoveries," 1641, says "But his learned, and able (though + unfortunate) <i>Successor</i> [Bacon in margin] is he, who hath fill'd up + all numbers, and perform'd that in our tongue, which may be compar'd or + preferr'd either to insolent <i>Greece</i>, or haughty <i>Rome</i>." + </p> + <p> + "He who hath filled up all numbers" means unquestionably "He that hath + written every kind of poetry."[5] + </p> + <p> + Alexander Pope the poet declares that he himself "lisped in numbers for + the numbers came." Ben Jonson therefore bears testimony to the fact that + Bacon was so great a poet that he had in poetry written that "which may be + compar'd or preferr'd either to insolent <i>Greece</i> or haughty <i>Rome</i>." + </p> + <p> + But in 1623 Ben Jonson had said of the AUTHOR of the plays + </p> +<pre xml:space="preserve"> + <i>"Or when thy sockes were on + Leaue thee alone, for the comparison + Of all, that insolent</i> Greece <i>or haughtie</i> Rome + <i>Sent forth, or since did from their ashes come."</i> +</pre> + <p> + Surely the statements in the "Discoveries" were intended to tell us who + was the AUTHOR of the plays. + </p> + <p> + After perusing these contemporary evidences, and they might be multiplied, + it is difficult to understand how anyone can venture to dispute Bacon's + position as pre-eminent in poetry. But it may be of interest to those who + doubt whether Bacon (irrespective of any claim to the authorship of the + plays) could be deemed to be a great poet, to quote here the words of + Percy Bysshe Shelley, who in his "Defence of Poetry" says + </p> + <p> + "Bacon was a poet. His language has a sweet and majestic rhythm, which + satisfies the sense, no less than the almost superhuman wisdom of his + philosophy satisfies the intellect. It is a strain which distends and then + bursts the circumference of the reader's mind, and pours itself forth + together with it into the universal element with which it has perpetual + sympathy." + </p> + <p> + The immortal plays are the "Greatest Birth of Time," and contain a short + summary of the wisdom of the world from ancient times, and they exhibit an + extent and depth of knowledge in every branch which has never been + equalled at any period of the world's history. In classic lore, as the + late Mr. Churton Collins recently pointed out, they evince the ripest + scholarship. And this is confirmed by classical scholars all the world + over. + </p> + <p> + None but the profoundest lawyers can realise the extent of the knowledge + not only of the theory but of the practice of Law which is displayed. Lord + Campbell says that Lord Eldon [supposed to have been the most learned of + judges] need not have been ashamed of the law of Shakespeare. And as an + instance of the way in which the members of the legal profession look up + to the mighty author I may mention that some years ago, at a banquet of a + Shakespeare Society at which Mr. Sidney Lee and the writer were present, + the late Mr. Crump, Q.C., editor of the <i>Law Times</i>, who probably + possessed as much knowledge of law as any man in this country, declared + that to tell him that the plays were not written by the greatest lawyer + the world has ever seen, or ever would see, was to tell him what he had + sufficient knowledge of law to know to be nonsense. He said also that he + was not ashamed to confess that he himself, though he had some reputation + for knowledge of law, did not possess sufficient legal knowledge to + realise one quarter of the law that was contained in the Shakespeare + plays. + </p> + <p> + It requires a philologist to fully appreciate what the enormous vocabulary + employed in the plays implies. + </p> + <p> + Max Muller in his "Science of Language," Vol. I, 1899, p. 379, says + </p> + <p> + "A well-educated person in England, who has been at a public school and at + the University ... seldom uses more than about 3,000 or 4,000 words. ... + The Hebrew Testament says all that it has to say with 5,642 words, + Milton's poetry is built up with 8,000; and Shakespeare, who probably + displayed a greater variety of expression than any writer in any language + ... produced all his plays with about 15,000 words." + </p> + <p> + Shakspeare the householder of Stratford could not have known so many as + one thousand words. + </p> + <p> + But Bacon declared that we must make our English language capable of + conveying the highest thoughts, and by the plays he has very largely + created what we now call the English language. The plays and the sonnets + also reveal their author's life. + </p> + <p> + In the play of "Hamlet" especially, Bacon seems to tell us a good deal + concerning himself, for the auto-biographical character of that play is + clearly apparent to those who have eyes to see. I will, however, refer + only to a single instance in that play. In the Quarto of 1603, which is + the first known edition of the play of "Hamlet," we are told, in the scene + at the grave, that Yorick has been dead a dozen years; but in the 1604 + Quarto, which was printed in the following year, Yorick is stated to have + been dead twenty-three years. This corrected number, twenty-three, looks + therefore like a real date of the death of a real person. The words in the + Quarto of 1604 are as follows:— + </p> +<pre xml:space="preserve"> + Hamlet, Act v, Scene i. + + "[Grave digger called.] Clow[n] ... heer's a scull + now hath lyen you i' th' earth 23 yeeres ... this + same scull, sir, was, sir, Yorick's skull, the Kings + jester ... + + <i>Ham</i>[<i>let</i>]. Alas poore <i>Yoricke</i>, I knew him + <i>Horatio</i>, a fellow of infinite iest, of most excellent + fancie, hee hath bore me on his backe a thousand + times ... Heere hung those lyppes that I haue + kist, I know not howe oft, where be your gibes now? + your gamboles, your songs, your flashes of merriment, + that were wont to set the table on a roare, not one + now to mocke your owne grinning...." +</pre> + <p> + The King's Jester who died about 1580-1, just twenty-three years before + 1604 (as stated in the play), was John Heywood, the last of the King's + Jesters. The words spoken by Hamlet exactly describe John Heywood, who was + wont to set the table in a roar with his jibes, his gambols, his songs, + and his flashes of merriment. He was a favourite at the English Court + during three if not four reigns, and it is recorded that Queen Elizabeth + as a Princess rewarded him. It is an absolutely gratuitous assumption that + he was obliged permanently to leave England when she became Queen. Indeed + it is believed that he was an intimate friend of the Bacon family, and + must have carried little Francis Bacon any number of times upon his back, + and the little fellow must have kissed him still more oftentimes. The + story in the play of "Hamlet" seems, therefore, to fit in exactly with the + facts of Bacon's life; but it is not possible that the most fertile + imagination of the most confirmed Stratfordian can suppose that the + Stratford actor ever saw John Heywood, who died long before Shakspere came + to London. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0008" id="link2HCH0008"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER VIII. — The Author revealed in the Sonnets. + </h2> + <p> + Bacon also reveals much of himself in the play "As you like it," which of + course means "Wisdom from the mouth of a fool." In that play, besides + giving us much valuable information concerning his "mask" William + Shakespeare, he also tells us why it was necessary for him to write under + a pseudonym. + </p> + <p> + Speaking in the character of Jaques, who is the alter ego of Touchstone, + he says, + </p> +<pre xml:space="preserve"> + Act ii, Scene 7. + + "O that I were a foole, + I am ambitious for a motley coat. + <i>Duke</i>. Thou shalt haue one. + <i>Jag</i>. It is my onely suite, + Prouided that you weed your better judgements + Of all opinion that growes ranke in them, + That I am wise. I must haue liberty + Wiithall, as large a Charter as the winde, + To blow on whom I please, for so fooles haue: + And they that are most gauled with my folly, + They most must laugh.... + Inuest me in my motley: Giue me leaue + To speake my minde, and I will through and through + Cleanse the foule bodie of th' infected world + If they will patiently receiue my medicine." +</pre> + <p> + He also gives us most valuable information in Sonnet 81. + </p> +<pre xml:space="preserve"> + Or I shall liue your Epitaph to make, + Or you suruiue when I in earth am rotten, + From hence your memory death cannot take, + Although in me each part will be forgotten, + Your name from hence immortall life shall haue, + Though I (once gone) to all the world must dye, + The Earth can yeeld me but a common graue, + When you intombed in men's eyes shall lye, + Your monument shall be my gentle verse, + Which eyes not yet created shall ore read, + And toungs to be, your being shall rehearse, + When all the breathers of this world are dead, + You still shall liue (such vertue hath my Pen) + Where breath most breaths euen in the mouths of men. +</pre> + <p> + Stratfordians tell us that the above is written in reference to a poet + whom Shakespeare "evidently" regarded as a rival. But it is difficult to + imagine how sensible men can satisfy their reason with such an + explanation. Is it possible to conceive that a poet should write <i>against + a rival</i> + </p> +<pre xml:space="preserve"> + "Your name from hence immortall life shall haue + Though I (once gone) to all the world must dye" +</pre> + <p> + or should say <i>against</i> a <i>rival</i>, + </p> +<pre xml:space="preserve"> + "The Earth can yeeld me but a common graue + While you intombed in men's eyes shall lye." +</pre> + <p> + or should have declared "<i>against</i> a <i>rival</i>," + </p> +<pre xml:space="preserve"> + "Your monument shall be my gentle verse" +</pre> + <p> + No! This sonnet is evidently written in reference to the writer's mask or + pseudonym which would continue to have immortal life (even though he + himself might be forgotten) as he says + </p> +<pre xml:space="preserve"> + "Although in me each part will be forgotten." +</pre> + <p> + It is sometimes said that Shakespeare (meaning the Stratford actor) did + not know the value of his immortal works. Is that true of the writer of + this sonnet who says + </p> +<pre xml:space="preserve"> + "my gentle verse + Which eyes not yet created shall ore read" +</pre> + <p> + No! The writer knew his verses were immortal and would immortalize the + pseudonym attached to them + </p> +<pre xml:space="preserve"> + "When all the breathers of this world are dead." +</pre> + <p> + Perhaps the reader will better understand Sonnet 81 if I insert the words + necessary to fully explain it. + </p> +<pre xml:space="preserve"> + Or shall I [Bacon] live your Epitaph to make, + Or you [Shakespeare] survive when I in Earth am rotten, + From hence your memory death cannot take, + Although in me each part will be forgotten. + Your name [Shakespeare] from hence immortal life shall have, + Though I [Bacon] once gone to all the world must die, + The earth can yield me but a common grave, + When you entombed in men's eyes shall lie, + Your monument shall be my [not your] gentle verse, + Which eyes not yet created shall ore read, + And tongues to be your being [which as an author + was not] shall rehearse, + When all the breathers of this world are dead, + You [Shakespeare] still shall live, such vertue + hath my pen [not your own pen, for you never wrote a line] + Where breathe most breaths even in the mouths of men. +</pre> + <p> + This Sonnet was probably written considerably earlier than 1609, but at + that date Bacon's name had not been attached to any work of great literary + importance. + </p> + <p> + After the writer had learned the true meaning of Sonnet 81, his eyes were + opened to the inward meaning of other Sonnets, and he perceived that + Sonnet No. 76 repeated the same tale. + </p> +<pre xml:space="preserve"> + "Why write I still all one, euer the same, + And keep inuention in a noted weed, + That euery word doth almost sel my name, + Shewing their birth and where they did proceed?" +</pre> + <p> + (Sel may mean spell or tell or possibly betray.) + </p> + <p> + Especially note that "Invention" is the same word that is used by Bacon in + his letter to Sir Tobie Matthew of 1609 (same date as the Sonnets), and + also especially remark the phrase "in a noted weed," which means in a + "pseudonym," and compare it with the words of Bacon's prayer, "I have + (though in a 'despised weed') procured the good of all men." + [Resuscitatio, 1671.] Was not the pseudonym of the Actor Shakespeare a + very "despised weed" in those days? + </p> + <p> + Let us look also at Sonnet No. 78. + </p> +<pre xml:space="preserve"> + "So oft have I enuoked thee for my Muse, + And found such faire assistance in my verse, + As every <i>alien</i> pen hath got my use, + And under thee their poesy disperse." +</pre> + <p> + Here again we should understand how to read this Sonnet as under:— + </p> +<pre xml:space="preserve"> + "So oft have I enuoked thee [Shakespeare] for my Muse, + And found such faire assistance in my verse, + As every <i>alien</i> pen hath got my use, + And under thee [Shakespeare] their poesy disperse." +</pre> + <p> + "Shakespeare" is frequently charged with being careless of his works and + indifferent to the piracy of his name; but we see by this Sonnet, No. 78, + that the real author was not indifferent to the false use of his + pseudonym, though it was, of course, impossible for him to take any + effectual action if he desired to preserve his incognito, his mask, his + pseudonym. + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0009" id="link2HCH0009"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER IX. — Mr. Sidney Lee and the Stratford Bust. + </h2> + <p> + One word to the Stratfordians. The "Shakespeare of Stratford-on-Avon" myth + has been shattered and destroyed by the mass of inexactitudes collected in + the supposititious "Life of Shakespeare" by Mr. Sidney Lee, who has done + his best to pulverise what remained of that myth by recently writing as + follows:— + </p> + <p> + "Most of those who have pressed the question [of Bacon being the real + Shake-speare] on my notice, are men of acknowledged intelligence and + reputation in their own branch of life, both at home and abroad. I + therefore desire as respectfully, but also as emphatically and as + publicly, as I can, to put on record the fact, as one admitting to my mind + of no rational ground for dispute, that there exists every manner of + contemporary evidence to prove that Shakspere, the householder of + Stratford-on-Avon, wrote with his own hand, and exclusively by the light + of his only genius (merely to paraphrase the contemporary inscription on + his tomb in Stratford-on-Avon Church) those dramatic works which form the + supreme achievement in English Literature." + </p> + <p> + As a matter of fact, not a single scrap of evidence, contemporary or + otherwise, exists to show that Shakspere, the householder of + Stratford-on-Avon, wrote the plays or anything else; indeed, the writer + thinks that he has conclusively proved that this child of illiterate + parents and father of an illiterate child was himself so illiterate that + he was never able to write so much as his own name. But Mr. Sidney Lee + seems prepared to accept <i>anything</i> as "contemporary evidence," for + on pages 276-7 (1898 edition) of his "Life of Shakespeare" he writes + </p> + <p> + "Before 1623 an elaborate monument, by a London sculptor of Dutch birth, + Gerard Johnson, was erected to Shakespeare's memory in the chancel of the + parish church. It includes a half-length bust, depicting the dramatist on + the point of writing. The fingers of the right hand are disposed as if + holding a pen, and under the left hand lies a quarto sheet of paper." + </p> + <p> + As a matter of fact, the <i>present</i> Stratford monument was not put up + till about one hundred and twenty years <i>after</i> Shakspeare's death. + The original monument, see Plate 3 on Page 8, was a very different + monument, and the figure, as I have shewn in Plate 5, instead of holding a + pen in its hand, rests its two hands on a wool-sack or cushion. Of course, + the false bust in the existing monument was substituted for the old bust + for the purpose of fraudulently supporting the Stratford myth. + </p> + <p> + When Mr. Sidney Lee wrote that the present monument was erected before + 1623 he did not do this consciously to deceive the public; still, it is + difficult to pardon him for this and the other reckless statements with + which his book is filled. But what are we to say of his words (respecting + the <i>present</i> monument) which we read on page 286? "It was first + engraved—very imperfectly—in Rowe's edition of 1709." An exact + full size photo facsimile reproduction of Rowe's engraving is shown in + Plate 19, Page 77. + </p> + <p> + [Illustration: Plate. XIX. The Original Stratford Monument, from Rowe's + Life of Shakespeare, 1709] + </p> + <p> + As a matter of fact, the real Stratford monument of 1623 was first + engraved in Dugdale's "Warwickshire" of 1656, where it appears opposite to + page 523. We can, however, pardon Mr. Sidney Lee for his ignorance of the + existence of that engraving; but how shall we pardon him for citing Rowe + as a witness to the early existence of the present bust? To anyone not + wilfully blinded by passion and prejudice, Rowe's engraving [see Plate 19, + Page 77] clearly shews a figure absolutely different from the Bust in the + present monument. Rowe's figure is in the same attitude as the Bust of the + original monument engraved by Dugdale, and does not hold a pen in its + hand, but its two hands are supported on a wool-sack or cushion, in the + same manner as in the Bust from Dugdale which I have shewn in Plate 5, on + Page 14. + </p> + <p> + What are we to say respecting the frontispiece to the 1898 edition of what + he is pleased to describe as the "Life of William Shakespeare," which Mr. + Sidney Lee tells us is "from the 'Droeshout' painting now in the + Shakespeare Memorial Gallery at Stratford-on-Avon"? + </p> + <p> + As a matter of fact there is no "Droeshout" painting. The picture falsely + so called is a manifest forgery and a palpable fraud, for in it all the + revealing marks of the engraving by Martin Droeshout which appeared in the + 1623 folio are purposely omitted. A full size photo facsimile of Martin + Droeshout's engraving is shewn in Plate 8, pp. 20-21. In the false and + fraudulent painting we find no double line to shew the mask, and the coat + is really a coat and not a garment cunningly composed of two left arms. + </p> + <p> + Still it does seem singularly appropriate and peculiarly fitting that Mr. + Sidney Lee should have selected as the frontispiece of the romance which + he calls the "Life" of Shakespeare, an engraving of the false and + fraudulent painting now in the Stratford-on-Avon Gallery for his first + edition of 1898; and should also have selected an engraving of the false + and fraudulent monument now in Stratford-on-Avon Church as the + frontispiece for his first Illustrated Library Edition of 1899. + </p> + <p> + Mr. Sidney Lee is aware of the fact that Martin Droeshout was only fifteen + years old when the Stratford actor died. But it is possible that he may + not know that (in addition to the Shakespeare Mask which Droeshout drew + for the frontispiece of the 1623 folio edition of the Plays of + Shakespeare, in order to reveal, to those who were able to understand, the + true facts of the Authorship of those plays), Martin Droeshout also drew + frontispieces for other books, which may be similarly correctly + characterised as cunningly composed, in order to reveal the true facts of + the authorship of such works, unto those who were capable of grasping the + hidden meaning of his engravings. + </p> + <p> + One other point it is worth while referring to. The question is frequently + asked, if Bacon wrote under the name of Shakespeare, why so carefully + conceal the fact? An answer is readily supplied by a little anecdote + related by Ben Jonson, which was printed by the Shakespeare Society in + 1842, in their "Notes of Ben Jonson's conversations with William Drummond + of Hawthornden". + </p> + <p> + "He [Ben Jonson] was dilated by Sir James Murray to the King, for writting + something against the Scots, in a play Eastward Hoe, and voluntarly + imprissonned himself with Chapman and Marston who had written it amongst + them. The report was that they should then [have] had their ears cut and + noses. After their delivery, he banqueted all his friends; there was + Camden, Selden, and others; at the midst of the feast his old Mother + dranke to him, and shew him a paper which she had (if the sentence had + taken execution) to have mixed in the prisson among his drinke, which was + full of lustie strong poison, and that she was no churle, she told, she + was minded first to have drunk of it herself." + </p> + <p> + This was in 1605, and it is a strange and grim illustration of the dangers + that beset men in the Highway of Letters. + </p> + <p> + It was necessary for Bacon to write under pseudonyms to conceal his + identity, but he intended that at some time posterity should do him + justice and it was for this purpose that, among the numerous clues he + supplied to reveal himself he wrote "The Tempest" in its present form, + which Emile Montegut writing in the <i>Revue des Deux Mondes</i> in 1865 + declared to be the author's literary Testament. + </p> + <p> + The Island is the Stage. Prospero the prime Duke, the great Magician, + represents the Mighty Author who says "my brother ... called Anthonio who + next thyself of all the world I lov'd" ... "graves at my command have + wak'd their sleepers op'd and let them forth by my so potent Art" ... + </p> +<pre xml:space="preserve"> + "and deeper than ever plummet sound + He drown my booke." +</pre> + <p> + Yet he does not forget finally to add "I do ... require my Dukedome of + thee, which perforce I know thou must restore." + </p> + <p> + The falsely crowned and gilded king of the Island who had stolen the wine + (the poetry) "where should they find this grand liquor that hath gilded + them" and whose name is Stephanos (Greek for crown) throws off at the + close of the play, his false crown while Caliban says "What a thrice + double asse was I to take this drunkard for a God." + </p> + <p> + The mighty Magician Prospero says "knowing I lov'd my bookes, he furnished + me from mine own Library, with volumes, that I prize above my Dukedome." + Bacon when he was dismissed from his high offices, devoted himself to his + books. Not a book of any kind was found at New Place, Stratford. Bacon's + brother "whom next himself he loved" was called Anthony. "Gentle" + Shakespeare of Stratford died from the effects of a "Drunken" bout! + </p> + <p> + It does matter whether it is thought that the Immortal works were written + by the sordid money-lender of Stratford, the "Swine without a head, + without braine, wit, anything indeed, Ramping to Gentilitie"; or were + written by him who was himself the "Greatest Birth of Time"; the man + pre-eminently distinguished amongst the sons of earth; the man who in + order to "do good to all mankind," disguised his personality "in a + despised weed," and wrote under the name of William Shakespeare. + </p> + <p> + It does matter, and England is now declining any longer to <i>dishonour</i> + and <i>defame</i> the greatest Genius of all time by continuing to + identify him with the mean, drunken, ignorant, and absolutely unlettered, + rustic of Stratford who never in his life wrote so much as his own name + and in all probability was totally unable to read one single line of + print. + </p> + <p> + The hour has come for revealing the truth. The hour has come when it is no + longer necessary or desirable that the world should remain in ignorance + that the Great Author of Shakespeare's Plays was himself alive when the + Folio was published in 1623. The hour has come when all should know that + this the greatest book produced by man was given to the world more + carefully edited by its author as to every word in every column, as to + every italic in every column, as to every apparent misprint in every + column, than any book had ever before been edited, and more exactly + printed than there seems any reasonable probability that any book will + ever again be printed that may be issued in the future. + </p> + <p> + The hour has come when it is desirable and necessary to state with the + utmost distinctness that + </p> +<pre xml:space="preserve"> + BACON IS SHAKESPEARE. +</pre> + <p> + [Illustration: Plate XX. Reduced Facsimile of Page 136 of the Shakespeare + Folio, 1623] + </p> + <p> + [Illustration: Plate XXI. Portion of Page 136, full size, as in the + Shakespeare Folio 1623] + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0010" id="link2HCH0010"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER X — Bacon is Shakespeare. + </h2> + <p> + Proved mechanically in a short chapter on the long word + Honorificabilitudinitatibus. + </p> + <p> + The long word found in "Loves Labour's lost" was not created by the author + of Shakespeare's plays. Mr. Paget Toynbee, writing in the <i>Athenoeum</i> + (London weekly) of December 2nd 1899, tells us the history of this long + word. + </p> + <p> + It is believed to have first appeared in the Latin Dictionary by + Uguccione, called "Magnae Derivationes," which was written before the + invention of printing, in the latter half of the twelfth century and seems + never to have been printed. Excerpts from it were, however, included in + the "Catholicon" of Giovanni da Geneva, which was printed among the + earliest of printed books (that is, it falls into the class of books known + as "incunabula," so called because they belong to the "cradle of + printing," the fifteenth century). + </p> + <p> + In this "Catholicon," which, though undated, was printed before A.D. 1500, + we read + </p> +<pre xml:space="preserve"> + "Ab <i>honorifico, hic</i> et <i>hec honorificabilis,—le</i> et + —hec honororificabilitas,—tis et <i>hec + honorificabilitudinitas</i>, et est longissima dictio, + que illo versu continetur— + Fulget Honorificabilitudinitatibus iste." +</pre> + <p> + It is perhaps not without interest to call the reader's attention to the + fact that "Fulget hon|orifi |cabili|tudini|tatibus|iste" forms a neat + Latin hexameter. It will be found that the revelation derived from the + long word Honorificabilitudinitatibus is itself also in the form of a + Latin hexameter. + </p> + <p> + The long word Honorificabilitudinitatibus occurs in the Quarto edition of + "Loues Labor's Lost," which is stated to be "Newly corrected and augmented + by W. Shakespere." Imprinted in London by W.W. for Cutbert Burby. 1598. + </p> + <p> + This is the very first play that bore the name W. Shakespere, but so soon + as he had attached the name W. Shakespere to that play, the great author + Francis Bacon caused to be issued almost immediately a book attributed to + Francis Meres which is called "Palladis Tamia, Wits Treasury" and is + stated to be Printed by P. Short for Cuthbert Burbie, 1598. This is the + same publisher as the publisher of the Quarto of "Loues Labor's lost" + although both the Christian name and the surname are differently spelled. + </p> + <p> + This little book "Palladis Tamia, Wits Treasury" tells us on page 281, "As + Plautus and Seneca are accounted the best for comedy and tragedy among the + Latines, so Shakespeare among ye English, is the most excellent in both + kinds for the stage; for Comedy, witness his Gentlemen of Verona, his + Errors, his Love Labors lost, his Love Labours wonne, his Midsummers night + dreame, and his Merchant of Venice: for Tragedy, his Richard the 2, + Richard the 3, Henry the 4, King John, Titus Andronicus, and his Romeo and + Juliet." + </p> + <p> + Here we are distinctly told that eleven other plays are also Shakespeare's + work although only Loues Labors lost at that time bore his name. + </p> + <p> + We refer on page 138 to the reason why it had become absolutely necessary + for the Author to affix a false name to all these twelve plays. For our + present purpose it is sufficient to point out that on the very first + occasion when the name W. Shakespere was attached to any play, viz., to + the play called "Loues Labor's lost," the Author took pains to insert a + revelation that would enable him to claim his own when the proper time + should arrive. Accordingly he prepared the page which is found F 4 (the + little book is not paged) in the Quarto of "Loues Labor's lost" which was + published in 1598. A photo-facsimile of the page is shewn, Page 105, Plate + 22. + </p> + <p> + So far as is known there never was any other edition printed until the + play appeared in the Folio of 1623 under the name of "Loues Labour's + lost," and we put before the reader a reduced facsimile of the whole page + 136 of the 1623 Folio, on which the long word occurs, Page 86, Plate 20, + and we give also an exact full size photo reproduction of a portion of the + first column of that page. Page 87, Plate 21. + </p> + <p> + On comparing the page of the Quarto with that of the Folio, it will be + seen that the Folio page commences with the same word as does the Quarto + and that each and every word, and each and every italic in the Folio is + exactly reproduced from the Quarto excepting that Alms-basket in the Folio + is printed with a hyphen to make it into two words. A hyphen is also + inserted in the long word as it extends over one line to the next. The + only other change is that the lines are a little differently arranged. + These slight differences are by no means accidental, because Alms-basket + is hyphened to count as two words and thereby cause the long word to be + the 151st word. This is exceedingly important and it was only by a + misprint in the Quarto that it incorrectly appears there as the 150th + word. By the rearrangement of the lines, the long word appears on the 27th + line, and the line, "What is A.B. speld backward with the horn on his + head" appears as it should do on the 33rd line. At the time the Quarto was + issued, when the trouble was to get Shakespere's name attached to the + plays, these slight printer's errors in the Quarto—for they are + printer's errors—were of small consequence, but when the play was + reprinted in the Folio of 1623 all these little blemishes were most + carefully corrected. + </p> + <p> + The long word Honorificabilitudinitatibus is found in "Loues Labour's + lost" not far from the commencement of the Fifth Act, which is called + Actus Quartus in the 1623 folio, and on Page 87, Plate 21, is given a full + size photo facsimile from the folio, of that portion of page 136, in which + the word occurs in the 27th line. + </p> + <p> + On lines 14, 15 occurs the phrase, "Bome boon for boon prescian, a little + scratcht, 'twil serve." I do not know that hitherto any rational + explanation has been given of the reason why this reference to the + pedantic grammarian "Priscian" is there inserted. + </p> + <p> + The mention of Priscian's name can have no possible reference to anything + apparent in the text, but it refers solely and entirely to the phrase + which is to be formed by the transposition of the twenty-seven letters + contained in the long word Honorificabilitudinitatibus; and it was + absolutely impossible that the citation of Priscian could ever have been + understood before the sentence containing the information which is of the + most important description had been "revealed." We say "revealed" because + the riddle could never have been "guessed." + </p> + <p> + The "revealed" and "all revealing" sentence forms a correct Latin + hexameter, and we will proceed to prove that it is without possibility of + doubt or question the real solution which the "Author" intended to be + known at some future time, when he placed the long word + Honorificabilitudinitatibus, which is composed of twenty-seven letters, on + the twenty-seventh line of page 136, where it appears as the 151st word + printed in ordinary type. + </p> + <p> + The all-important statement which reveals the authorship of the plays in + the most clear and direct manner (every one of the twenty-seven letters + composing the long word being employed and no others) is in the form of a + correct Latin hexameter, which reads as follows— + </p> +<pre xml:space="preserve"> + HI LUDI F. BACONIS NATI TUITI ORBI + These plays F. Bacon's offspring are preserved for the + world. + + This verse will scan as a spondaic hexameter as under + + HI LU |DI F | BACO | NIS NA | TI TUI | TI ORBI + + HI One long syllable meaning "these." + + LUDI Two long syllables meaning "stage plays," + and especially "stage plays" + in contradistinction to "Circus games." + (Suetonius Hist: + Julius Caes: 10. Venationes autem Ludosque + et cum collega et separatim edidit). + + F, One long syllable. Now for the first time + can the world be informed why the sneer + "Bome boon for boon prescian, a little + scratcht, 'twil serve" was inserted on lines + 14, 15, page 136 of the folio of 1623. Priscian + declares that F was a mute and Bacon mocks + him for so doing. Ausonius while giving the + pronunciation of most letters of the alphabet + does not afford us any information respecting + the sound of F, but Quintilian xii. 10, s. 29, + describes the pronunciation of the Roman F. + Some scholars understand him as indicating + that the Roman F had rather a rougher sound + than the English F. Others agree with Dr. + H.J. Roby, and are of opinion that Quintilian + means that the Roman F was "blown out + between the intervals of the teeth with no + sound of voice." (See Roby's Grammar of + the Latin language, 1881, xxxvi.) But Dr. A. + Bos in his "Petit Traite de prononciation + Latine," 1897, asserts that the old Latin manner + of pronouncing F was effe. Even if Dr. + A. Bos is correct it is not at all likely that effe + was a dissyllable, but most probably it would + be sounded very nearly like the Greek "[Greek: phi]," + that is as "pfe." In any case (even if it + were a dissyllable) F would, with the DI + of LUDI, form two long syllables and scan + as a spondee. The use of single consonants + to form long or short syllables was very + common among the Romans, but such appear + mostly in lines impossible to quote. + + But the Great Author was well acquainted + with such instances, and in this same page 136, + in lines 6, 7, 8, he gives an example, shewing + that the letter "B," although silent in debt, + becomes, when debt is spelled, one of the four + full words—d e b t, each of which has to be + counted to make up the number "151."[6] + + This, which is an example of the great value + and importance of what, in many of the plays, + appears to be merely "silly talk" affords a + strong additional evidence of the correctness + of the "revealed" and "revealing" sentence + which we shew was intended by the author to + be constructed out of the long word. Bacon + therefore was amply justified in making use + of F as a long syllable to form the second + half of a spondee. + + BACONIS Three long syllables, the final syllable + being long by position. Pedantic grammarians + might argue that natus being a + participle ought not to govern a genitive + case, but should be followed by a preposition + with the ablative case, and that we + ought to say "e Bacone nati" or "de + Bacone nati." Other pedants have declared + that natus is properly, i.e., classically, said + of the mother only, although in low Latin, + such as the Vulgate, we find 1 John v. 2, + "Natos Dei," "born of God." But the + Author of the plays, who instead of having + "small Latin and less Greek" knew "<i>All</i> + Latin and very much Greek," was well aware + that Vergil, Aeneid i. 654 (or 658 when the + four additional lines are inserted at the + beginning) gives us "Maxima natarum + Priami," "greatest of the daughters of + Priam," and in Aeneid ii. 527 "Unus natorum + Priami," "one of the sons of Priam." There + exists therefore the highest classical authority + for the use of "Nati" in the sense of "Sons" + or "offspring" governing a genitive case. + "F. Baconis nati," "Francis Bacon's offspring," + is therefore absolutely and classically + correct. + + NATI Two long syllables. A noun substantive + meaning as shewn above "sons" or "offspring." + + TUITI Two short syllables and one long syllable, + which last is elided and disappears before the + "o" of orbi. Tuiti which is the same word + as tuti is a passive past participle meaning + saved or preserved. It is derived from + tueor, which is generally used as a deponent + or reflexive verb, but tueor is used by Varro + and the legal writers as a passive verb. + + ORBI Two long syllables. The word orbi may + be either the plural nominative of orbus + meaning "deprived" "orphaned," or it may + be the dative singular of Orbis meaning "for + the world." Both translations make good + sense because the plays are "preserved for + the world" and are "preserved orphaned." + The present writer prefers the translation + "for the world," indeed he thinks that to + most classical scholars "tuiti orbi," "preserved + discarded," looks almost like a contradiction + in terms. +</pre> + <p> + Note on Honorficabilitudinitatibus + </p> + <p> + BACONIS.—On page 131 is shewn a photogravure of the title page of + Bacon's "De Augmentis," 1645, which is in fact a pictorial representation + of an anagram "Hi ludi F. Baconis nati tuiti orbi." On this title page we + find "Baconis" used as the genitive of Bacon's name in Latin. Baconis is + also found in XIII th century manuscript copies of Roger Bacon's works, + where the title reads "Opus minus Fratris Rogeri Baconis," and in 1603 + there was published in 12° at Frankfurt "Rogeri Baconis ... De Arte + Chymiae." + </p> + <p> + TUITI.—Pedanticgrammarians such as Priscian whom the author mocks at + in the line "Bome boom for boon precian, a little scratcht, 'twil serve," + falsely tel us that there is a passive verb "tueor" with a past participle + "tutus." As a matter of fact it is the same verb "tueor" that is used both + as a passive and as a deponent, and "tutus" or "tuitus" may be used + indifferently at the pleasure of the writer. Sallust uses "tutus," not + "tuitus," as the past participle of the deponent verb. + </p> + <p> + Opposite to the next page is shewn a type transcript of the cover or + outside page of a collection of manuscripts in the possession of the Duke + of Northumberland, which were discovered in 1867 at Northumberland House. + Three years later, viz., in 1870, James Spedding published a thin little + volume entituled "A Conference of Pleasure," in which he gave a full size + Facsimile of the original of the outside page which is here shewn in <i>reduced + type</i> facsimile. He also gave a few particulars of the MSS. themselves. + </p> + <p> + In 1904 Mr. Frank J. Burgoyne brought out a Collotype Facsimile of every + page that now remains of the collection of MSS. in an edition limited to + 250 copies I a fine Royal Quarto at the price of £4 4s. 0d. O f the MSS. + mentioned on the cover nine now remain, and of these, six are certainly by + Francis Bacon; the first being written by him for a masque or "fanciful + devise" which Mr. Spedding thinks was presented at the Court of Elizabeth + in 1592. + </p> +<pre xml:space="preserve"> +The list of contents was written upon this outside page about 1597, and +among those original contents which are now missing were Richard II. and +Richard III. Mr. Spedding was satisfied that these were the so-called +Skakespearean plays. There are also the tiles of various other works to +which it is not now necessary to allude, but the reader's attention +should be especially directed to the (so-called) scribblings. Mr. +Spedding says: "I find nothing either in these later scribblings or in +what remains of the book itself to indicate a date later than the reign +of Elizabeth." The "scribblings" are therefore written by a contemporary +hand. For the purpose of reference I have placed the letters +<i>a, b, c, d, e</i>, outside of the facsimile. + + (<i>a</i>) "honorificabilitudine." This curious long word when taken in +conjunction with the words "your William Shakespeare." which are also +found upon this page, appears to have some reference to the same curious +long word which is found in the ablative plural in "Loves Labour's +lost," which appeared I 1597, and was the play to which Shakespeare's +name was for the first time attached, and, as I shew, in Chapter X., p. +84, it was placed there in order to give with absolute certainty a key +to the real authorship. + + (<i>b</i>) "By Mr ffrauncis William Shakespeare Baco"—with ffrauncis +written upside down over it and your/yourself written upside down +</pre> +<pre xml:space="preserve"> +at the commencement of the line. Baco would require Baconis as +its genitive. + + (<i>c</i>) "revealing day through every crany peepes." We think that this +is an accurate statement of the revelations here afforded. +</pre> + <p> + [Illustration: Modern Script Facsimile of MS Folio 1 <i>Reduced to about + one-third the size of the original</i>] + </p> +<pre xml:space="preserve"> + (<i>d</i>) your + "William Shakespeare." Almost directly above this + your + appears also William Shakespeare. +</pre> + <p> + [Illustration: Full-Size Facsimile of Written Ornament on Outside Page of + Northumberland MSS.] + </p> + <p> + [Illustration: Full-Size Facsimile of Written Ornament in "Les Tenure de + Monsieur Littleton." Annotate by Francic Bacon.] + </p> +<pre xml:space="preserve"> + (<i>e</i>) The three curious scrolles at the top right-hand corner are very + similar to the scrolls which are found upon the title page of a law + book entitled, "Les Tenures de Monsieur Littleton," printed in 1591, in + the possession of the writer, which is throughout noted in what the + authorities at the British Museum say is undoubtedly the handwriting of + Francis Bacon. +</pre> + <p> + As I have pointed out upon page 114 and upon various other pages in my + book "upside down" printing is a device continually employed by the + authors of certain books in order to afford revelations concerning Bacon + and Shakespeare. As a whole this curious scribbled page affords remarkable + evidence that William Shakespeare is "yourself" Francis Bacon. + </p> + <p> + Now and now only can a reasonable explanation be given for the first time + of the purpose of the reference to Priscian, in lines 14 and 15, Plate 21, + Page 87. And it is a singular circumstance that so far as the writer is + aware not one of the critics has perceived that the mockery of Priscian + forms a neat English iambic hexameter, indeed, in almost all modern + editions of the Shakespeare plays, both the form and the meaning of the + line have been utterly destroyed. In the original the line reads "Bome + boon for boon prescian, a little scracht, 'twil serve." + </p> + <p> + Perhaps the reader will be enabled better to understand the sneer and the + mockery by reading the following couplet— + </p> +<pre xml:space="preserve"> + A fig for old Priscián, a little scrátcht, 'twil serve + A poet súrely need not áll his rúles observe. +</pre> + <p> + And we still more perfectly understand the purpose of the hexameter form + of the reference to Priscian if we scan the line side by side with the + "revealed" interpretation of the long word honorificabilitudinitatibus. + </p> +<pre xml:space="preserve"> + Bome boon | for boon | prescian | a lit | tle scratcht | 'twil serve + HI LU | DI F | BACO | NIS NA | TI TUI | TI ORBI +</pre> + <p> + These plays F Bacon's offspring are preserved for the world. + </p> + <p> + This explanation of the real meaning to be derived from the long word + honorificabilitudinitatibus seems to be so convincing as scarcely to + require further proof. But the Author of the plays intended when the time + had fully come for him to claim his own that there should not be any + possibility of cavil or doubt. He therefore so arranged the plays and the + acts of the plays in the folio of 1623 that the long word should appear + upon the 136th page, be the 151st word thereon, should fall on the 27th + line and that the interpretation should indicate the numbers 136 and 151, + thus forming a mechanical proof so positive that it can neither be + misconstrued nor explained away, a mechanical proof that provides an + evidence which absolutely compels belief. + </p> + <p> + The writer desires especially to bring home to the reader the manifest + fact that the revealed and revealing sentence must have been constructed + before the play of "Loues Labor's lost" first appeared in 1598, and that + when the plays were printed in their present form in the 1623 folio the + scenes and the acts of the preceding plays and the printing of the columns + in all those plays as well as in the play of "Loues Labour's lost" + required to be arranged with extraordinary skill in order that the + revealing page in the 1623 folio should commence with the first word of + the revealing page in the original quarto of 1598, and that that page + should form the 136th page of the folio, so that the long word + "Honorificabilitudinitatibus" should appear on page 136, be the 151st + word, and fall upon the 27th line. + </p> + <p> + Bacon tells us that there are 24 letters in the alphabet (<i>i</i> and <i>j</i> + being deemed to be forms of the same letter, as are also <i>u</i> and <i>v</i>). + Bacon was himself accustomed frequently to use the letters of the alphabet + as numerals (the Greeks similarly used letters for numerals). Thus A is 1, + B is 2 ... Y is 23, Z is 24. Let us take as an example Bacon's own name—B=2, + a=1, c=3, O=14, n=i3; all these added together make the number 33, a + number about which it is possible to say a good deal.[7] We now put the + numerical value to each of the letters that form the long word, and we + shall find that their total amounts to the number 287, thus: + </p> +<pre xml:space="preserve"> + H O N O R I F I C A B I L I T U + 8 14 13 14 17 9 6 9 3 1 2 9 11 9 19 20 + + D I N I T A T I B U S + 4 9 13 9 19 1 19 9 2 20 18 = 287 +</pre> + <p> + From a word containing so large a number of letters as twenty-seven it is + evident that we can construct very numerous words and phrases; but I think + it "surpasses the wit of man" to construct any "sentence" other than the + "revealed sentence," which by its construction shall reveal not only the + number of the page on which it appears—which is 136—but shall + also reveal the fact that the long word shall be the 151st word printed in + ordinary type counting from the first word. + </p> + <p> + On one side of the facsimile reproduction of part of page 136 of the 1623 + folio, numbers are placed shewing that the long word is on the 27th line, + which was a skilfully purposed arrangement, because there are 27 letters + in the word. There is also another set of numbers at the other side of the + facsimile page which shews that, counting from the first word, the long + word is the 151st word. How is it possible that the revealing sentence, + "Hi ludi F. Baconis nati tuiti orbi," can tell us that the page is 136 and + the position of the long word is the 151st word? The answer is simple. The + numerical value of the initial letters and of the terminal letters of the + revealed sentence, when added together, give us 136, the number of the + page, while the numerical value of all the other letters amount to the + number 151, which is the number of words necessary to find the position of + the long word "Honorificabilitudinitatibus," which is the 151st word on + page 136, counting those printed in ordinary type, the italic words being + of course omitted. + </p> +<pre xml:space="preserve"> + The solution is as follows + HI + LUDI + F + BACONIS + NATI + TUITI + ORBI +</pre> + <p> + the initial letters of which are + </p> +<pre xml:space="preserve"> + H L F B N T O +</pre> + <p> + their numerical values being + </p> +<pre xml:space="preserve"> + 8 11 6 2 13 19 14 = total 73 +</pre> + <p> + and the terminal letters are + </p> +<pre xml:space="preserve"> + I I S I I I +</pre> + <p> + their numerical values being + </p> +<pre xml:space="preserve"> + 9 9 18 9 9 9 = total 63 + __ + + Adding this 63 to 73 we get 136 +</pre> + <p> + while the intermediate letters are + </p> +<pre xml:space="preserve"> + U D A C O N I A T U I T R B +</pre> + <p> + their numerical values being + </p> +<pre xml:space="preserve"> + 20 4 1 3 14 13 9 1 19 20 9 19 17 2 = 151 + ___ + + Total 287 +</pre> + <p> + The reader thus sees that it is a fact that in the "revealed" sentence the + sum of the numerical values of the initial letters, when added to the sum + of the numerical values of the terminal letters, do, with mathematical + certainty produce 136, the number of the page in the first folio, which is + 136, and that the sum of the numerical values of the intermediate letters + amounts to 151, which gives the position of the long word on that page, + which is the 151st word in ordinary type. These two sums of 136 and 151, + when added together, give 287, which is the sum of the numerical value of + all the letters of the long word "Honorificabilitudinitatibus," which, as + we saw on page 99, amounted to the same total, 287. + </p> + <p> + As a further evidence of the marvellous manner in which the Author had + arranged the whole plan, the long word of 27 letters is placed on the 27th + line. Can anyone be found who will pretend to produce from the 27 letters + which form the word "Honorificabilitudinitatibus" another sentence which + shall also tell the number of the page, 136, and that the position of the + long word on the page is the 151st word? + </p> + <p> + I repeat that to do this "surpasses the wit of man," and that therefore + the true solution of the meaning of the long word + "Honorificabilitudinitatibus," about which so much nonsense has been + written, is without possibility of doubt or question to be found by + arranging the letters to form the Latin hexameter. + </p> +<pre xml:space="preserve"> + HI LUDI F. BACONIS NATI TUITI ORBI + + These plays F. Bacon's offspring are preserved + for the world. + + It is not possible to afford a clearer mechanical proof that + + THE SHAKESPEARE PLAYS ARE + BACON'S OFFSPRING. + + It is not possible to make a clearer and more definite statement that + + BACON IS THE AUTHOR OF THE + PLAYS. + + It is not possible that any doubt can any longer be entertained + respecting the manifest fact that + + BACON IS SHAKESPEARE. +</pre> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0011" id="link2HCH0011"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XI.— On the revealing page 136 in "Loves Labour's lost." + </h2> + <p> + In the previous chapter it was pointed out that using letters for numbers, + Bacon's name is represented by 33. + </p> +<pre xml:space="preserve"> + B A C O N . + 2 1 3 14 13 = 33 +</pre> + <p> + and that the long word possesses the numerical value of 287. + </p> +<pre xml:space="preserve"> + H O N O R I F I C A B I L I T U + 8 14 13 14 17 9 6 9 3 1 2 9 11 9 19 20 + D I N I T A T I B U S + 4 9 13 9 19 1 19 9 2 20 18 = 287 +</pre> + <p> + In the Shakespeare folio, Page 136, shewn in Plate 20 and Plate 21, on + Pages 86-7, ON LINE 33, we read "What is Ab speld backward with the horn + on his head?" + </p> + <p> + The answer which is given is evidently an incorrect answer, it is "Ba, + puericia with a horne added," and the Boy mocks him with "Ba most seely + sheepe, with a horne: you heare his learning." + </p> + <p> + The reply should of course have been in Latin. The Latin for a horn is + cornu. The real answer therefore is "Ba corn-u fool." + </p> + <p> + This is the exact answer you might expect to find on the line 33, since + the number 33 indicates Bacon's name. And now, and now only, can be + explained the very frequent use of the ornament representing a Horned + Sheep, inside and outside "Baconian" books, under whatever name they may + be known. An example will be found at the head of the present chapter on + page 103. The uninitiated are still "informed" or rather "misinformed" + that this ornament alludes to the celebrated Golden Fleece of the + Argonauts and they little suspect that they have been purposely fooled, + and that the real reference is to Bacon. + </p> + <p> + It should be noted here that in the Quarto of "Loues Labor's lost," see + Plate 22, Page 105, if the heading "Loues Labor's lost" be counted as a + line, we read on the 33rd line: "Ba most seely sheepe with a horne: you + heare his learning." This would direct you to a reference to Bacon, + although not so perfectly as the final arrangement in the folio of 1623. + </p> + <p> + Proceeding with the other lines in the page, we read:— + </p> +<pre xml:space="preserve"> + "Quis quis, thou consonant?" +</pre> + <p> + This means "Who, who"? [which Bacon] because in order to make the + revelation complete we must be told that it is "Francis" Bacon, so as to + leave no ambiguity or possibility of mistake. How then is it possible that + we can be told that it is Francis Bacon? We read in answer to the + question: + </p> + <p> + [Illustration: Plate XXII. Facsimile from "Loues Labor Lost," First + edition 1598] + </p> +<pre xml:space="preserve"> + "Quis quis, thou consonant? + The last of five vowels if you repeat them, the + fifth if I. + I will repeat them a, e, I. + The Sheepe, the other two concludes it o, u." +</pre> + <p> + Now here we are told that a, e, I, o, u is the answer to Quis quis, and we + must note that the I is a capital letter. Therefore a is followed by e, + but I being a capital letter does not follow e but starts afresh, and we + must read I followed by o, and o followed by u. + </p> + <p> + [Illustration: Plate XXIII. Facsimile of a Contemporary Copy of a Letter + of Francis Bacon.] + </p> + <p> + Is it possible that these vowels will give us the Christian name of Bacon? + Can it be that we are told on what page to look? The answer to both these + questions is the affirmative "Yes." + </p> + <p> + The great Folio of Shakespeare was published in 1623, and in the following + year, 1624, there was brought out a great Cryptographic book by the "Man + in the Moon." We shall speak about this work presently; suffice for the + moment to say that this book was issued as the key to the Shakespeare + Folio of 1623. If we turn to page 254 in the Cryptographic book we shall + find Chapter XIV. "De Transpositione Obliqua, per dispositionem + Alphabeti." + </p> + <p> + [Illustration: Plate XXIV. FACSIMILES FROM PAGE 255 OF "GU TAVI SELENI + CRYPTOMENYTICES," PUBLISHED 1624. [The Square Table is much enlarged].] + </p> + <p> + This chapter describes how, by means of square tables, one letter followed + by another letter will give the cypher letter. On the present page appears + the square, which is shown in Plate 24, which enables us to answer the + question "Quis quis." + </p> + <p> + By means of this square we perceive that "a" followed by "e" gives us the + letter F, that "I" followed by "o" gives us the letter R, and that "o" + followed by "u" gives us the letter A. The answer therefore to Quis quis + (which Bacon do you mean) is Fra [Bacon]. <i>See</i> Plate 23, Page 107. + </p> + <p> + [Illustration: Plate XXV. FACSIMILE FROM PAGE 2O2b OF "TRAICTE DES + CHIFFRES OU SECRETES MANIERES D'ESCRIRE," PAR VlGENÈRE.] + </p> + <p> + But what should induce us to look at this particular chapter on page 254 + of the Cryptographic book for the solution? The answer is clearly given in + the wonderful page 136 of the 1623 Folio of Shakespeare. + </p> + <p> + As has been pointed out the numerical value of the long word + Honorificabilitudinitatibus is 287, and the numerical value of Bacon is + 33. We have found Bacon from Ba with a horn, and we require the remainder + of his name, accordingly deduct 33 from 287, and we get the answer 254 + which is the number of the required page in the Cryptographic book of + 1624. But the wise Author knew that someone would say "How does this apply + to the 1598 Quarto published twenty-six years before the great + Cryptographic book appeared?" On Plate 24, Page 108, taken from page 255 + of the Cryptographic book of 1624, it is shewn that the following lines + are attached to the square + </p> +<pre xml:space="preserve"> + "Quarta Tabula, ex Vigenerio, pag. 202.b, etc." + =Square table taken from Vigenerio, page 202.b. +</pre> + <p> + This reference is to the work entitled, "Traicte des chiffres ou secretes + manieres d'escrire": par Blaise de Vigenere, which was published in Paris + in 1586. Spedding states (Vol. I. of "Bacon's Letters and Life," p. 6-8) + that Francis Bacon went in 1576 to France, with Sir Amias Paulet, the + English Ambassador. Bacon remained in France until 1578-9, and when in + 1623 he published his "De Augmentis Scientiarum"—(the Advancement of + Learning) he tells us that while in Paris he invented his own method of + secret writing. <i>See</i> Spedding's "Works of Bacon," Vol. 4, p. 445. + </p> + <p> + The system which Bacon then invented is now known as the Biliteral Cypher, + and it is in fact practically the same as that which is universally + employed in Telegraphy under the name of the Morse Code. + </p> + <p> + A copy of Vigenere's book will be found in the present writer's Baconian + library, for he knew by the ornaments and by the other marks that Bacon + must have had a hand in its production. + </p> + <p> + Anyone, therefore, reading the Quarto edition of "Loues Labor's lost," + 1598, and putting <i>two</i> and <i>two</i> together will find on p. 202.b + of Vigenere's book, the Table, of which a facsimile is here given, Plate + 25, Page 109. This square is even more clear than the square table in the + great Cryptographic book. + </p> + <p> + Thus, upon the same page 136 in the Folio, or on F. 4 in the Quarto, in + addition to Honorificabilitudinitatibus containing the revealing sentence + "Hi ludi F Baconis nati tuiti orbi"—"These plays F Bacon's offspring + are entrusted to the world," we see that we are able to discover on line + 33 the name of Bacon, and by means of the lines which follow that it is + Fra. Bacon who is referred to. + </p> + <p> + Before parting with this subject we will give one or two examples to + indicate how often the number 33 is employed to indicate Bacon. + </p> + <p> + We have just shewn that on page 136 of the Folio we obtain Bacon's name on + line 33. On page 41 we refer to Ben Jonson's "Every man out of his + Humour." In an extremely rare early Quarto [<i>circa</i> 1600] of that + play some unknown hand has numbered the pages referring to Sogliardo + (Shakespeare) and Puntarvolo (Bacon) 32 and 32 repeated. Incorrect + pagination is a common method used in "revealing" books to call attention + to some statements, and anyone can perceive that the second 32 is really + 33 and as usual reveals something about Bacon. + </p> + <p> + On page 61 we point out that on page 33 of the little book called "The + Great Assizes holden in Parnassus" Apollo speaks. As the King speaks in a + Law Court only through the mouth of his High Chancellor so Apollo speaks + in the supposititious law action through the mouth of his Chancellor of + Parnassus, who is Lord Verulam, i.e. Bacon. Thus again Bacon is found on + Page 33. The writer could give very numerous examples, but these three + which occur incidentally will give some idea how frequently the number 33 + is used to indicate Bacon.[8] + </p> + <p> + The whole page 136 of the Folio is cryptographic, but we will not now + proceed to consider any other matters contained upon it, but pass on to + discuss the great Cryptographic book which was issued under Bacon's + instructions in the year following the publication of the great Folio of + Shakespeare. Before, however, speaking of the book, we must refer to the + enormous pains always taken to provide traps for the uninitiated. + </p> + <p> + If you go to Lunaeburg, where the Cryptographic book was published, you + will be referred to the Library at Wolfenbuttel and to a series of letters + to be found there which contain instructions to the engraver which seem to + prove that this book has no possible reference to Shakespeare. We say, + seem to prove, for the writer possesses accurate photographs of all these + letters and they really prove exactly the reverse, for they are, to those + capable of understanding them, cunningly devised false clues, quite clear + and plain. That these letters are snares for the uninitiated, the writer, + who possesses a "Baconian" library, could easily prove to any competent + scholar. + </p> + <p> + [Illustration: 106 <i>Surnames</i>. Plate XXVI.] + </p> + <p> + Before referring to the wonderful title page of the Cryptographic book + which reveals the Bacon-Shakespeare story, it is necessary to direct the + reader's attention to Camden's "Remains," published 1616. We may conclude + that Bacon had a hand in the production of this book, since Spedding's + "Bacon's Works," Vol. 6, p. 351, and Letters, Vol. 4, p. 211, informs us + that Bacon assisted Camden with his "Annales." + </p> + <p> + In Camden's "Remains," 1616, the Chapter on Surnames, p. 106, commences + with an ornamental headline like the head of Chapter 10, p. 84, but + printed "<i>upside down</i>." A facsimile of the heading in Camden's book + is shewn in Plate 26, page 113. + </p> + <p> + This trick of the upside down printing of ornaments and even of engravings + is continually resorted to when some revelation concerning Bacon's works + is given. Therefore in Camden's "Remains" of 1616 in the Chapter on + Surnames, because the head ornament is printed upside down, we may be + perfectly certain that we shall find some revelation concerning Bacon and + Shakespeare. + </p> + <p> + Accordingly on p. 121 we find as the name of a village "Bacon Creping." + There never was a village called "Bacon Creping." And on page 128 we read + "such names as Shakespeare, Shotbolt, Wagstaffe." In referring to the + great Cryptographic book, we shall realise the importance of this + conjunction of names. + </p> + <p> + On Plate 27, Page 115, we give a reduced facsimile of the title page, + which as the reader will see, states in Latin that the work is by Gustavus + Selenus, and contains systems of Cryptographic writing, also methods of + the shorthand of Trithemius. The Imprint at the end, under a very handsome + example of the double A ornament which in various forms is used generally + in books of Baconian learning, states that it was published and printed at + Lunaeburg in 1624. Gustavus Selenus we are told in the dedicatory poems + prefixed to the work is "Homo lunae" [the man in the Moon]. + </p> + <p> + [Illustration: Plate XXVII. Facsimile Title Page.] + </p> + <p> + [Illustration: Plate XXVIII. Left-Handed Portion, much enlarged, of Plate + XXVIII.] + </p> + <p> + [Illustration: 202.—Royal Eagle. Facsimile from p. 93 of Boutell's + English Heraldry, 1899. If this is compared with the bird in Plate XXVIII. + it will at once be seen that the later is an Eagle in full flight.] + </p> + <p> + [Illustration: Plate XXIX. Right-Hand Portion, much enlarged, of Plate + XXVII.] + </p> + <p> + [Illustration: Plate XXX. Top Portion of Plate XXVII., much enlarged.] + </p> + <p> + [Illustration: Plate XXXI. Bottom Portion of Plate XXVII., much enlarged.] + </p> + <p> + Look first at the whole title page; on the top is a tempest with flaming + beacons, on the left (of the reader) is a gentleman giving something to a + spearman, and there are also other figures; on the right is a man on + horseback, and at the bottom in a square is a much dressed up man taking + the "Cap of Maintenance" from a man writing a book. + </p> + <p> + Examine first the left-hand picture shewn enlarged, Plate 28, Page 118. + You see a man, evidently Bacon, giving his writing to a Spearman who is + dressed in actor's boots (see Stothard's painting of Falstaff in the + "Merry Wives of Windsor" wearing similar actor's boots, Plate 32, Page + 127). Note that the Spearman has a sprig of bay in the hat which he holds + in his hand. This man is a Shake-Spear, nay he really is a correct + portrait of the Stratford householder, which you will readily perceive if + you turn to Dugdale's engraving of the Shakespeare bust, Plate 5, Page 14. + In the middle distance the man still holding a spear, still being a + Shake-Speare, walks with a staff, he is therefore a Wagstaffe. On his back + are books—the books of the plays. In the sky is seen an arrow, no, + it is not sufficiently long for an arrow, it is a Shotbolt (Shakespeare, + Wagstaffe, Shotbolt, of Camden's "Remains"). This Shotbolt is near to a + bird which seems about to give to it the scroll it carries in its beak. + But is it a real bird? No, it has no real claws, its feet are Jove's + lightnings, verily, "it is the Eagle of great verse." + </p> + <p> + Next, look on Plate 29, Page 119, which is the picture on the right of the + title page. Here you see that the same Shake-spear whom we saw in the + left-hand picture is now riding on a courser. That he is the same man is + shewn by the sprig of bay in his hat, but he is no longer a Shake-spear, + he is a Shake-<i>spur</i>. Note how much the artist has emphasised the + drawing of the spur. It is made the one prominent thing in the whole + picture. We refer our reader to "The Returne from Pernassus" (see pp. + 47-48) where he will read, + </p> +<pre xml:space="preserve"> + "England affordes those glorious vagabonds + That carried earst their fardels on their backes + Coursers to ride on through the gazing streetes." +</pre> + <p> + Now glance at the top picture on the title page (see Plate 27, Page 115,) + which is enlarged in Plate 30, Page 122. Note that the picture is enclosed + in the magic circle of the imagination, surrounded by the masks of + Tragedy, Comedy, and Farce (in the same way as Stothard's picture of the + "Merry Wives of Windsor," Plate 32, Page 127). + </p> + <p> + [Illustration: Plate XXXII. Scene from "The Merry Wives of Windsor," + painted by Thomas Stothard.] + </p> + <p> + The engraving represents a tempest with beacon lights; No; it represents + "The Tempest" of Shakespeare and tells you that the play is filled with + Bacon lights. (In the sixteenth century Beacon was pronounced Bacon. + "Bacon great Beacon of the State.") + </p> + <p> + We have already pointed out that "The Tempest," as Emile Montegut shewed + in the <i>Revue des Deux Mondes</i> in 1865, is a mass of Bacon's + revelations concerning himself. + </p> + <p> + At the bottom (see Plate 27, Page 115, and Plate 31, Page 123), within the + "four square corners of fact," surrounded with disguised masks of Tragedy, + Comedy, and Farce, is shewn the same man who gave the scroll to the + Spearman, see Plate 29, Page 118 (note the pattern of his sleeves). He is + now engaged in writing his book, while an Actor, very much overdressed and + wearing a mask something like the accepted mask of Shakespeare, is lifting + from the real writer's head a cap known in Heraldry as the "Cap of + Maintenance." Again we refer to our quotation on page 48. + </p> +<pre xml:space="preserve"> + "Those glorious vagabonds.... + Sooping it in their glaring Satten sutes." +</pre> + <p> + Is not this masquerading fellow an actor "Sooping it in his glaring Satten + sute"? The figure which we say represents Bacon, see Plate 28, wears his + clothes as a gentleman. Nobody could for a moment imagine that the masked + creature in Plate 31 was properly wearing his own clothes. No, he is + "sooping it in his glaring Satten sute." + </p> + <p> + The whole title page clearly shows that it is drawn to give a revelation + about Shakespeare, who might just as well have borne the name of Shotbolt + or of Wagstaffe or of Shakespur, see "The Tempest," Act v., Scene I. + </p> +<pre xml:space="preserve"> + "The strong bass'd promontorie + Have I made shake, and by the spurs pluckt up." +</pre> + <p> + There are also revealing title pages in other books, shewing a spear and + an actor wearing a single spur only (see Plate 35, Page 153). + </p> + <p> + It will be of interest to shew another specially revealing title page, + which for upwards of a hundred years remained unaltered as the title page + to Vol. I. of Bacon's collected works, printed abroad in Latin. A + different engraving, representing the same scene was also published in + France. These engravings, however, were never reproduced or used in + England, because the time for revelation had not yet come. Bacon is shewn + seated (see Plate 33, Page 131). Compare his portrait with the engraving + of the gentleman giving his scroll to the Spearman in the Gustavus Silenus + frontispiece, Plate 27, Page 115, and Plate 28, Page 118. Bacon is + pointing with his right hand in full light to his open book, while his + left hand in deepest shadow is putting forward a figure holding in both + its hands a closed and clasped book, which by the cross lines on its side + (the accepted symbol of a mirror) shows that it represents the mirror up + to Nature, i.e., Shakespeare's plays. Specially note that Bacon puts + forward with his LEFT hand the figure holding the book which is the mirror + up to Nature. In the former part of this treatise the writer has proved + that the figure that forms the frontispiece of the great folio of + Shakespeare's plays, which is known as the Droeshout portrait of Wm. + Shakespeare, is really composed of two LEFT arms and a mask. The reader + will now be able to fully realise the revelation contained in Droeshout's + masked figure with its two left arms when he examines it with the title + page shown, Plate 33, Page 131. + </p> + <p> + [Illustration: Plate XXXIII. Facsimile Title Page.] + </p> + <p> + Bacon is putting forward what we described as a "figure"; it is a "man" + with false breasts to represent a woman (women were not permitted to act + in Bacon's time), and the man is clothed in a goat skin. Tragedos was the + Greek word for a goat skin, and Tragedies were so called because the + actors were dressed in goat skins. This figure therefore represents the + Tragic Muse. Here in the book called <i>De Augmentis Scientiarum</i>, + which formed one part of the Great Instauration, is placed an engraving to + show that another part of the Great Instauration known as Shakespeare's + Plays was issued LEFT-HANDEDLY, that is, was issued under the name of a + mean actor, the actor Shakespeare. This title page is very revealing, and + should be taken in conjunction with the title page of the Cryptographic + book which under the name of Gustavus Silenus, "<i>Homo lunae</i>," the + "Man in the Moon," was published in 1624 in order to form a key to certain + cyphers in the 1623 Folio of Shakespeare's Plays. + </p> + <p> + These two title pages were prepared with consummate skill in order to + reveal to the world, when the time was ripe, that + </p> +<pre xml:space="preserve"> + BACON IS SHAKESPEARE. +</pre> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0012" id="link2HCH0012"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XII. — The "Householder of Stratford." + </h2> + <p> + We have in Chapter II. printed Mr. George Hookham's list of the very few + incidents recorded concerning Shakespeare's life, but, as we have already + shewn, a great deal of the "authentic history" of the Stratford clown has + in fact been revealed to us. Ben Jonson calls the Stratford man who had + purchased a coat of arms "Sogliardo" (scum of the earth), says he was + brother to Sordido, the miser (Shakspeare was a miser), describes him as + an essential clown (that means that he was a rustic totally unable to read + and write), shews that he speaks "i' th' straungest language," and calls + Heralds "Harrots," and finally sums him up definitely as a "Swine without + a head, without braine, wit, anything indeed, Ramping to Gentilitie." In + order that there should be no mistake as to the man who is referred to, + "Sogliardo's" motto is stated to be "Not without Mustard," Shakespeare's + motto being "Not without right" (Non sanz droict). Ben Jonson's account of + the real Stratford man is confirmed by Shakespeare's play of "As You Like + it," where Touchstone, the courtier playing clown, says, "It is meat and + drinke to me to see a clowne" (meaning an essential clown, an uneducated + rustic); yet he salutes him as "gentle," shewing that the mean fellow + possesses a coat of arms. + </p> + <p> + The Clown is born in the Forest of Ardennes (Shakespeare's mother's name + was Arden). He is rich, but only so-so rich, that is rich for a clowne + (New Place cost only £60). He says he is wise, and Touchstone mocks him + with Bacon's words, "The Foole doth think he is wise, but the wise man + knows himself to be a Fool." He says he has "a prettie wit" (pretty wit is + the regular orthodox phrase as applied to Shakespeare). But when asked + whether he is learned, he distinctly replies "No," which means that he + says that he cannot read one line of print. A man who could read one line + of print was at that period in the eye of the law "learned," and could not + be hanged when convicted for the first time except for murder. If any + persons be found to dispute the fact that the reply "No" to the question + "Art thou learned?" meant in Queen Elizabeth's day "I cannot read one line + of print" such persons must be totally unacquainted with Law + literature.[9] + </p> + <p> + The play "As You Like it" confirms Ben Jonson's characterisation of + Shakespeare being "an essential clowne." Next let us turn to Ratsei's <i>Ghost</i> + (see p. 49), which, as Mr. Sidney Lee, in his "Life of William + Shakespeare," p. 159, 1898 ed., confesses, refers to Shakespeare. Ratsei + advises the young actor to copy Shakespeare, "and to feed upon all men, to + let none feede upon thee" (meaning Shakespeare was a cruel usurer). As we + shew, page 53, Grant White says: "The pursuit of an impoverished man for + the sake of imprisoning him and depriving him both of the power of paying + his debts and supporting himself and his family, is an incident in + Shakespeare's life which it requires the utmost allowance and + consideration for the practice of the time and country to enable us to + contemplate with equanimity—satisfaction is impossible." + </p> + <p> + Ratsei continues, "Let thy hand be a stranger to thy pocket" [like the + miser, Shakespeare], "thy hart slow to perform thy tongues promise" [like + the lying rascal Shakespeare], "and when thou feelest thy purse well + lined, buy thee a place of lordship in the country" [as Shakespeare had + bought New Place, Stratford] "that, growing weary of playing, thy mony may + there bring thee to dignitie and reputation" [as Shakespeare obtained a + coat of arms], "then thou needest care for no man, nor not for them that + before made thee prowd with speaking their words upon the stage." This + manifestly refers to two things, one that Shakespeare when he bought New + Place, quitted London and ceased to act; the other that he continually + tried to exact more and more "blackmail" from those to whom he had sold + his name. + </p> + <p> + Now we begin at last to understand what we are told by Rowe, in his "Life + of Shakespeare," published in 1709, that is, 93 years after Shakespeare's + death in 1616, when all traces of the actual man had been of set purpose + obliterated, because the time for revealing the real authorship of the + plays had not yet come. Rowe, page x., tells us: "There is one Instance so + singular in the Magnificence of this Patron of Shakespeare's, that if I + had not been assur'd that the Story was handed down by Sir William + D'Avenant, who was probably very well acquainted with his Affairs, I + should not have ventured to have inserted, that my Lord Southampton, at + one time, gave him a thousand Pounds, to enable him to go through with a + Purchase which he heard he had a mind to." + </p> + <p> + This story has been hopelessly misunderstood, because people did not know + that a large sum had to be paid to Shakespeare to obtain his consent to + allow his name to be put to the plays, and that New Place had to be + purchased for him, 1597 (the title deeds were not given to him for five or + six years later), and that he had also to be sent away from London before + "W Shakespeare's" name was attached to any play, the first play bearing + that name being, as we have already pointed out, page 89, "Loues Labor's + lost," with its very numerous revelations of authorship. Then, almost + immediately, the world is informed that eleven other plays had been + written by the same author, the list including the play of "Richard II." + </p> + <p> + The story of the production of the play of "Richard II." is very curious + and extremely instructive. It was originally acted with the Parliament + scene, where Richard II. is made to surrender, commencing in the Folio of + 1623 with the words— + </p> +<pre xml:space="preserve"> + "Fetch hither Richard, that in common view he may surrender," +</pre> + <p> + continuing with a description of his deposition extending over 167 lines + to the words— + </p> +<pre xml:space="preserve"> + "That rise thus nimbly by a true king's fall." +</pre> + <p> + This account of the deposition of a king reached Queen Elizabeth's ears; + she was furiously angry and she exclaimed: "Seest thou not that I am + Richard II." + </p> + <p> + A copy of the play without any author's name was printed in 1597, omitting + the story of the deposition of Richard II.; this was followed by a second + and probably a third reprint in 1597, with no important alterations, but + still without any author's name. Then, after the actor had been sent away + to Stratford, Shakespeare's name was put upon a fourth reprint, dated + 1598. + </p> + <p> + The story of Richard II.'s deposition was not printed in the play till + 1608, five years after the death of Queen Elizabeth.[10] + </p> + <p> + This history of the trouble arising out of the production of the play of + "Richard II." explains why a name had to be found to be attached to the + plays. Who would take the risk? An actor was never "hanged," he was often + whipped, occasionally one lost his ears, but an actor of repute would + probably have refused even a large bribe. There was, however, a grasping + money-lending man, of little or no repute, that bore a name called + Shaxpur, which might be twisted into Bacon's pen-name Shake-Speare, and + that man was secured, but as long as he lived he was continually asking + for more and more money. The grant of a coat of arms was probably part of + the original bargain. At one time it seems to have been thought easier to + grant arms to his father. This, however, was found impossible. But when in + 1597 Bacon's friend Essex was Earl Marshal and chief of the Heralds' + College, and Bacon's servant Camden (whom Bacon had assisted to prepare + the "Annales"—see Spedding's "Bacon's Works," Vol. 6, p. 351, and + Letters, Vol. 4, p. 211), was installed as Clarenceux, King-of-Arms, the + grant of arms to Shakespeare was recognised, 1599. Shakespeare must have + been provisionally secured soon after 1593, when the "Venus and Adonis" + was signed with his name, because in the next year, 1594, "The Taming of a + Shrew" was printed, in which the opening scene shews a drunken + "Warwickshire" rustic [Shakspeare was a drunken Warwickshire rustic], who + is dressed up as "My lord," for whom the play had been prepared. (In the + writer's possession there is a very curious and absolutely unique masonic + painting revealing "on the square" that the drunken tinker is Shakspeare + and the Hostess, Bacon.) + </p> + <p> + The early date at which Shakspeare had been secured explains how in 1596 + an application for a grant of arms seems to have been made (we say seems) + for the date may possibly be a fraud like the rest of the lying document. + </p> + <p> + We have referred to Shakspeare as a drunken Warwickshire rustic who lived + in the mean and dirty town of Stratford-on-Avon. There is a tradition that + Shakespeare as a very young man was one of the Stratfordians selected to + drink against "the Bidford topers," and with his defeated friends lay all + night senseless under a crab tree, that was long known as Shakespeare's + crab tree. + </p> + <p> + Shakespeare's description of the Stratford man as the drunken tinker in + "The Taming of a Shrew" shews that the actor maintained his "drunken" + character. This habit seems to have remained with him till the close of + his life, for Halliwell-Phillipps says: "It is recorded that the party was + a jovial one, and according to a somewhat late but apparently reliable + tradition when the great dramatist [Shakespeare of Stratford] was + returning to New Place in the evening, he had taken more wine than was + conducive to pedestrian accuracy. Shortly or immediately afterwards he was + seized by the lamentable fever which terminated fatally on Friday, April + 23rd." + </p> + <p> + The story of his having to leave Stratford because he got into very bad + company and became one of a gang of deer-stealers, has also very early + support. + </p> + <p> + We have already proved that Shakspeare could neither read nor write. We + must also bear in mind that the Stratford man never had any reputation as + an actor. + </p> + <p> + Rowe, p. vi., thus writes: "His Name is Printed, as the Custom was in + those Times, amongst those of the other Players, before some old + Plays,[11] but without any particular Account of what sort of Parts he + us'd to play; and tho' I have inquir'd I could never meet with any further + Account of him this way than that the top of his Performance was the Ghost + in his own Hamlet." The humblest scene-shifter could play this character, + as we shall shew later. What about being manager of a Theatre? Shakspeare + never was manager of a Theatre. What about being master of a Shakespeare + company of actors? There never existed a Shakespeare company of actors. + What about ownership of a Theatre? Dr. Wallace, says in the <i>Times</i> + of Oct. 2nd 1909, that at the time of his death Shakespeare owned one + fourteenth of the Globe Theatre, and one-seventh of the Blackfriars + Theatre. The profit of each of these was probably exceedingly small. The + pleadings, put forth the present value at £300 each, but as a broad rule, + pleadings always used to set forth at least ten times the actual facts. In + the first case which the writer remembers witnessing in Court, the + pleadings were 100 oxen, 100 cows, 100 calves, 100 sheep, and 100 pigs, + the real matter in dispute being one cow and perhaps one calf. If we + assume, therefore, that the total capital value of the holding of W. + Shakespeare in both theatres taken together amounted to £60 in all, we + shall probably, even then, considerably over-estimate their real worth. + Now having disposed of the notion that Shakespeare was ever an important + actor, was ever a manager of a Theatre, was ever the master of a company + of actors, or was ever the owner of any Theatre, let us consider what Rowe + means by the statement that the top of his performance was the Ghost in + "Hamlet." + </p> + <p> + This grotesque and absurd fable has for two hundred years been accepted as + an almost indisputable historical fact. Men of great intelligence in other + matters seem when the life of Shakespeare of Stratford-on-Avon is + concerned, quite prepared to refuse to exercise either judgment or common + sense, and to swallow without question any amount of preposterous + nonsense, even such as is contained in the above statement. The part of + the Ghost in the play of "Hamlet" is one of the smallest and most + insignificant possible, and can be easily played by the most ignorant and + most inexperienced of actors. All that is required is a suit of armour + with somebody inside it, to walk with his face concealed, silently and + slowly a few times across the stage. Then on his final appearance he + should say a few sentences (84 lines in the Folio, 1623), but these can be + and occasionally are spoken by some invisible speaker in the same manner + as the word "<i>Swear</i>" which is always growled out by someone + concealed beneath the stage. No one knows, and no one cares, for no one + sees who plays the part, which requires absolutely no histrionic ability. + Sir Henry Irving, usually, I believe, put two men in armour upon the + stage, in order to make the movements of the Ghost more mysterious. What + then can be the meaning of the statement that the highest point to which + the actor, Shakespeare, attained was to play the part of the Ghost in + "Hamlet"? The rumour is so positive and so persistent that it cannot be + disregarded or supposed to be merely a foolish jest or a senselessly false + statement put forward for the purpose of deceiving the public. We are + compelled, therefore, to conclude that there must be behind this fable + some real meaning and some definite purpose, and we ask ourselves; What is + the purpose of this puzzle? What can be its real meaning and intention? As + usual, the Bacon key at once solves the riddle. The moment we realise that + BACON is HAMLET, we perceive that the purpose of the rumour is to reveal + to us the fact that the highest point to which the actor, Shakespeare, of + Stratford-on-Avon, attained was to play the part of Ghost to Bacon, that + is to act as his "PSEUDONYM," or in other words, the object of the story + is to reveal to us the fact that + </p> +<pre xml:space="preserve"> + BACON IS SHAKESPEARE. +</pre> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0013" id="link2HCH0013"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XIII.— Conclusion, with further evidences from title pages. + </h2> + <p> + Bacon had published eleven plays anonymously, when it became imperatively + necessary for him to find some man who could be purchased to run the risk, + which was by no means inconsiderable, of being supposed to be the author + of these plays which included "Richard II."; the historical play which so + excited the ire of Queen Elizabeth. Bacon, as we have already pointed out, + succeeded in discovering a man who had little, if any, repute as an actor, + but who bore a name which was called Shaxpur or Shackspere, which could be + twisted into something that might be supposed to be the original of + Bacon's pen name of Shake-Speare. + </p> + <p> + When in 1597 through the medium of powerful friends, by means of the bribe + of a large sum of money, the gift of New Place, and the promise of a coat + of arms, this man had been secured, he was at once sent away from London + to the then remote village of Stratford-on-Avon, where scarcely a score of + people could read, and none were likely to connect the name of their + countryman, who they knew could neither read nor write and whom they + called Shak or Shackspur, with "William Shakespeare" the author of plays + the very names of which were absolutely unknown to any of them. + </p> + <p> + Bacon, when Shackspur had been finally secured in 1597, brought out in the + following year 1598 "Loues Labor's lost" with the imprint "newly corrected + and augmented by W. Shakespere," and immediately he also brought out under + the name of Francis Meres "Wits Treasury," containing the statement that + eleven other plays, including "Richard II.," were also by this same + Shakespeare who had written the poems of "Venus and Adonis" and "Lucrece." + </p> + <p> + Francis Meres says: "As the soule of Euphorbus was thought to live in + Pythagoras so the sweete wittie soule of Ovid lives in mellifluous and + honytongued Shakespeare, witnes his 'Venus and Adonis,' his 'Lucrece,' his + sugred Sonnets among his private friends." + </p> + <p> + The Sonnets were not printed, so far as is known, before 1609, and they as + has been shown in Chapter 8 repeat the story of Bacon's authorship of the + plays. + </p> + <p> + Bacon in 1598, as we have stated in previous pages, fully intended that at + some future period posterity should do him justice. + </p> + <p> + Among his last recorded words are those in which he commends his name and + fame to posterity, "after many years had past." Accordingly we find, as we + should expect to find, that when he put Shakespeare's name to "Loues + Labor's lost" (the first play to bear that name) Bacon took especial pains + to secure that at some future date he should be recognised as the real + author. Does he not clearly reveal this to us by the wonderful words with + which the play of "Loues Labor's lost" opens? + </p> +<pre xml:space="preserve"> + "Let Fame, that all hunt after in their lyues, + Liue registred vpon our brazen Tombes, + And then grace vs, in the disgrace of death: + When spight of cormorant deuouring Time, + Thendeuour of this present breath may buy: + That honour which shall bate his sythes keene edge, + And make us heires of all eternitie." +</pre> + <p> + Bacon intended that "Spight of cormorant devouring Time" ... honour.... + should make [him] heir of all eternitie. + </p> + <p> + Compare the whole of this grand opening passage of "Loues Labor's lost" + with the lines ascribed to Milton in the 1632 edition of Shakespeare's + plays when Bacon was [supposed to be] dead. No epitaph appeared in the + 1623 edition, but in the 1632 edition appeared the following: + </p> +<pre xml:space="preserve"> + "An Epitaph on the admirable Dramaticke Poet, + W. Shakespeare. + What neede my Shakespeare for his honour'd bones, + The labour of an Age in piled stones + Or that his hallow'd Reliques should be hid + Under a starrey-pointed Pyramid? + Deare sonne of Memory, great Heire of Fame, + What needst thou such dull witnesse of thy Name? + Thou in our wonder and astonishment + Hast built thy selfe a lasting Monument: + For whil'st, to th' shame of slow-endevouring Art + Thy easie numbers flow, and that each part, + Hath from the leaves of thy unvalued Booke, + Those Delphicke Lines with deepe impression tooke + Then thou our fancy of her selfe bereaving, + Dost make us Marble with too much conceiving, + And so Sepulcher'd, in such pompe dost lie + That Kings for such a Tombe would wish to die." +</pre> + <p> + We have pointed out in Chapter 10 and in Chapter 11 how clearly in "Loues + Labour's lost," on page 136 of the folio of 1623, Bacon reveals the fact + that he is the Author of the Plays, and we have shewn how the title pages + of certain books support this revelation, beginning with the title page of + the first folio of 1623 with its striking revelation given to us in the + supposititious portrait which really consists of "a mask supported on two + left arms." + </p> + <p> + We may, however, perhaps here mention that instructions are specially + given to all who can understand, in the little book which is said to be a + continuation of Bacon's "Nova Atlantis," and to be by R. H., Esquire, + [whom no one has hitherto succeeded in identifying]. + </p> + <p> + [Illustration: Plate XXXIV Facsimile Title Page.] + </p> + <p> + On Plate 34, Page 149, we give a facsimile of its Title Page which + describes the book and states that it was printed in 1660. + </p> + <p> + In this book a number of very extraordinary inventions are mentioned such + as submarine boats to blow up ships and harbours, and telegraphy by means + of magnetic needles, but the portion to which we now wish to allude is + that which refers to a "solid kind of Heraldry." This will be found on pp. + 23-4, and reads as follows: + </p> + <p> + "We have a solid kind of Heraldry, not made specious with ostentative + pydecoats and titular Atcheivements, which in Europe puzzel the tongue as + well as memory to blazon, and any Fool may buy and wear for his money. + Here in each province is a Register to record the memorable Acts, + extraordinary qualities and worthy endowments of mind of the most eminent + Patricians. Where for the Escutcheon of Pretence each noble person bears + the Hieroglyphic of that vertue he is famous for. E.G. If eminent for + Courage, the Lion; If for Innocence, the White Lamb; If for Chastity, a + Turtle; If for Charity, the Sun in his full glory; If for Temperance, a + slender Virgin, girt, having a bridle in her mouth; If for Justice, she + holds a Sword in the right, and a Scales in the left hand; If for + Prudence, she holds a Lamp; If for meek Simplicity, a Dove in her right + hand; If for a discerning Judgment, an Eagle; If for Humility, she is in + Sable, the head inclining and the knees bowing; If for Innocence, she + holds a Lilie; If for Glory or Victory, a Garland of Baies; If for Wisdom, + she holds a Salt; If he excels in Physic, an Urinal; If in Music, a Lute; + If in Poetry, a Scrowle; If in Geometry, an Astrolabe; If in Arithmetic, a + Table of Cyphers; If in Grammar, an Alphabetical Table; If in Mathematics, + a Book; If in Dialectica she holds a Serpent in either hand; and so of the + rest; the Pretence being ever paralel to his particular Excellency. And + this is sent him cut in brass, and in colours, as he best phansies for the + Field; only the Hieroglyphic is alwayes proper." + </p> + <p> + These references to a solid kind of Heraldry refer to the title pages and + frontispieces of books which may be characterised broadly as Baconian + books, and examples of every one of them can be found in books extending + from the Elizabethan period almost up to the present date. + </p> + <p> + We place Plate 35, Page 153, before the reader, which is a photo + enlargement of the title page of Bacon's "History of Henry VII.," printed + in Holland, 1642, the first Latin edition (in 12mo). + </p> + <p> + Here is seen the Virgin holding the Salt, shewing the Wisdom of the + Author. In her right hand, which holds the Salt, she holds also two other + objects which seem difficult to describe. They represent "a bridle without + a bit," in order to tell us the purpose of the Plate is to unmuzzle Bacon, + and to reveal to us his authorship of the plays known as Shakespeare's. + </p> + <p> + But in order to prove that the objects represent a bridle without a bit, + we must refer to two emblem books of very different dates and authorship. + </p> + <p> + First we refer our readers to Plate 36, Page 156, which is a photo + enlargement of the figure of Nemesis in the first (February 1531) edition + of Alciati's Emblems. The picture shews us a hideous figure holding in her + left hand a bridle with a tremendous bit to destroy false reputations, <i>improba + verba</i>. + </p> + <p> + We next put before our readers the photo reproduction of the figure of + Nemesis, which will be found on page 484, of Baudoin's Emblems, 1638. + Baudoin had previously brought out in French a translation of Bacon's + "Essays," which was published at Paris in 1621. In the preface to his book + of Emblems he tells us that he was induced to undertake the task by BACON + (printed in capital letters), and by Alciat (printed in ordinary type). In + this book of Emblems, Baudoin, on page 484, placed his figure of Nemesis + opposite to Bacon's name. If the reader carefully examines Plate 37 he + will perceive that it is no longer a grinning hideous figure, but is a + figure of FAME, and carries a bridle in which there is found to be no sign + of any kind of bit, because the purpose of the Emblem is to shew that + Nemesis will unmuzzle and glorify Bacon. + </p> + <p> + In order to make the meaning of Baudoin's Emblem still more emphatically + explicit a special Rosicrucian Edition of the same date, 1638, was + printed, in which Baudoin's Nemesis is printed "upside down"; we do not + mean bound upside down, but printed upside down, for there is the printing + of the previous page at the back of the engraving. We have already alluded + on page 113 to the frequent practice of the upside down printing of + ornaments and engravings when a revelation concerning Bacon's connection + with Shakespeare is afforded to us. + </p> + <p> + [Illustration: Plate XXXV. Facsimile Title Page] + </p> + <p> + [Illustration: Plate XXXVI. "Nemesis," from Alcaiti's Emblems, 1531] + </p> + <p> + [Illustration: Plate XXXVII. Page 484 from Baudoin's Emblems 1638] + </p> + <p> + The writer possesses an ordinary copy of Baudoin's Emblems, 1638, and also + a copy of the edition with the Nemesis printed upside down which appears + opposite Bacon's name. The copy so specially printed is bound with + Rosicrucian emblems outside. + </p> + <p> + The reader, by comparing Baudoin's Nemesis, Plate 37, and the Title Page + of Henry VII., Plate 35, will at once perceive that the objects in the + right hand of the Virgin holding the salt box are correctly described as + representing a "bridle without a bit," and he will know that a revelation + concerning Bacon and Shakespeare is going to be given to him. Now we will + tell him the whole story. On the right of the picture, Plate 35 (the + reader's left) we see a knight in full armour, and also a philosopher who + is, as the roses on his shoes tell us, a Rosicrucian philosopher. On the + left on a lower level is the same philosopher, evidently Bacon, but + without the roses on his shoes. He is holding the shaft of a spear with + which he seems to stop the wheel. By his side stands what appears to be a + Knight or Esquire, but the man's sword is girt on the wrong side, he wears + a lace collar and lace trimming to his breeches, and he wears actor's + boots (see Plate 28, Page 118, and Plate 132, Page 127). + </p> + <p> + We are therefore forced to conclude that he is an Actor. And, lo, he wears + but ONE SPUR. He is therefore a Shake-spur Actor (on Plate 27, Page 115, + is shewn a Shake-spur on horseback). This same Actor is also shaking the + spear which is held by the philosopher. He is therefore also a Shake-spear + Actor. And now we can read the symbols on the wheel which is over his + head: the "mirror up to nature," "the rod for the back of fools," the + "basin to hold your guilty blood" ("Titus Andronicus," v. 2), and "the + fool's bawble." On the other side of the spear: the spade the symbol of + the workman, the cap the symbol of the gentleman, the crown the symbol of + the peer, the royal crown, and lastly the Imperial crown. Bacon says Henry + VII. wore an Imperial crown. Quite easily now we can read the whole story. + </p> + <p> + The "History of Henry VII.," though in this picture displayed on a stage + curtain, is set forth by Bacon in prose while the rest of the Histories of + England are given to the world by Bacon by means of his pseudonym the + Shake-spear Actor at the Globe to which that figure is pointing. + </p> + <p> + Plain as the plate appears to the instructed eye it seems hitherto to have + failed to reveal to the <i>un</i>instructed its clear meaning that + </p> +<pre xml:space="preserve"> + BACON IS SHAKE-SPEARE. +</pre> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0014" id="link2HCH0014"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XIV. — Postscriptum. + </h2> + <p> + Most fortunately before going to press we were able to see at the Record + Office, Chancery Lane, London, the revealing documents recently discovered + by Dr. Wallace and described by him in an article published in the March + number of <i>Harper's Monthly Magazine</i>, under the title of "New + Shakespeare Discoveries." The documents found by Dr. Wallace are extremely + valuable and important. They tell us a few real facts about the + Householder of Stratford-upon-Avon, and they effectually once and for all + dispose of the idea that the Stratford man was the Poet and Dramatist,—the + greatest genius of all the ages. + </p> + <p> + In the first place they prove beyond the possibility of cavil or question + that "Shakespeare, of Stratford-upon-Avon, Gentleman," was totally unable + to write even so much as any portion of his own name. It is true that the + Answers to the Interrogatories which are given by "William Shakespeare, of + Stratford-upon-Avon, Gentleman," are marked at the bottom "Wilm Shaxpr," + but this is written by the lawyer or law clerk, in fact "dashed in" by the + ready pen of an extremely rapid writer. A full size photographic facsimile + of this "so-called" signature, with a portion of the document above it, is + given in Plate 38, Page 164, and on the opposite page, in Plate 39, is + shewn also in full size facsimile the real signature of Daniell Nicholas + with a portion of the document, which he signed, above it. + </p> + <p> + In order that the reader may be able more easily to read the law writing + we give on page 167, in modern type, the portion of the document + photographed above the name Wilm Shaxp'r, and on the same page a modern + type transcript of the document above the signature of Daniell Nicholas. + </p> + <p> + Any expert in handwriting will at once perceive that "Wilm Shaxp'r" is + written by the same hand that wrote the lower portion of Shakespeare's + Answers to Interrogatories, and by the same hand that wrote the other set + of Answers to Interrogatories which are signed very neatly by "Daniell + Nicholas." + </p> + <p> + The words "Daughter Marye" occur in the portion photographed of both + documents, and are evidently written by the same law writer, and can be + seen in Plate 38, Page 164, just above the "Wilm Shaxp'r," and in Plate + 39, Page 165, upon the fifth line from the top. The name of "Shakespeare" + also occurs several times in the "Answers to Interrogatories." One + instance occurs in Plate 39, Page 165, eight lines above the name of + Daniell Nicholas, and if the reader compares it with the "Wilm Shaxp'r" on + Plate 38, Page 164, it will be at once seen that both writings are by the + same hand. + </p> + <p> + [Illustration: Plate XXXVIII Full Size Facsimile of part of "Shakespeare's + Answers to the Interrogatories," Discovered by Dr. Wallace in the British + Records Office.] + </p> + <p> + [Illustration: Plate XXXIX. Full Size Facsimile of part of Daniell + Nicholas' "Answers to the Interrogatories," Discovered by Dr. Wallace in + British Record Office.] + </p> +<pre xml:space="preserve"> + portion + What c'tayne he + . . . . . . + . plt twoe hundered pounds + decease. But sayth that + his house. And they had amo + about their marriadge w'ch + nized. And more he can + ponnt saythe he can saye + of the same Interro for + cessaries of houshould stuffe + his daughter Marye + WILM SHAXPR + + TYPE FACSIMILE OF PLATE XXXVIII. + +</pre> + <hr /> +<pre xml:space="preserve"> + Interr this depnnt sayth + that the deft did beare + ted him well when he + by him the said Shakespeare + his daughter Marye + that purpose sent him + swade the plt to the + solempnised uppon pmise of + nnt. And more he can + this deponnt sayth + is deponnt to goe wth + DANIELL NICHOLAS. + + TYPE FACSIMILE OF PLATE XXXIX. +</pre> + <p> + Answers to Interrogatories are required to be signed by the deponents. In + the case of "Johane Johnsone," who could not write her name, the + depositions are signed with a very neat cross which was her mark. In the + case of "William Shakespeare, of Stratford-upon-Avon, Gentleman," who was + also unable to write his name, they are signed with a dot which might + quite easily be mistaken for an accidental blot. Our readers will see this + mark, which is not a blot but a purposely made mark, just under "Wilm + Shaxp'r." + </p> + <p> + Dr. Wallace reads the "so-called" signature as Willm Shaks, but the + Christian name is written quite clearly Wilm. And we should have supposed + that any one possessing even the smallest acquaintance with the law + writing of the period must have known that the scroll which looks like a + flourish at the end of the surname is not and cannot be an "s," but is + most certainly without any possibility of question a "p," and that the + dash through the "p" is the usual and accepted abbreviation for words + ending in "per," or "peare," etc.[12] + </p> + <p> + Then how ought we, nay how arewe, compelled to read the so-called + signature? The capital S is quite clear, so also is the "h," then the next + mass of strokes all go to make up simply the letter "a." Then we come to + the blotted letter, + </p> + <p> + [Illustration: Plate XL. FACSIMILES OF LAW CLERKS' WRITING OF THE NAME + "SHAKESPEARE," FROM HALLIWELL-PHILLIPPS' "OUTLINES OF THE LIFE OF + SHAKESPEARE," VOL. 2, 1889.] + </p> + <p> + this is not and cannot be "kes" or "ks" because in the law writing of the + period every letter "s" (excepting "s" at the end of a word) was written + as a very long letter. This may readily be seen in the word Shakespeare + which occurs in Plate 39 on the eighth line above the signature of Daniell + Nicholas. What then is this blotted letter if it is not kes or ks? The + answer is quite plain, it is an "X," and a careful examination under a + very strong magnifying glass will satisfy the student that it is without + possibility of question correctly described as an "X."[13] Yes, the + lawclerk marked the Stratford Gentleman's "Answers to Interrogatories" + with the name "Wilm Shaxp'r." Does there exist a Stratfordian who will + contend that William Shakespeare, of Stratford-upon-Avon, Gentleman, if he + had been able to write any portion of his name would have marked his + depositions Wilm Shaxp'r? Does there exist any man who will venture to + contend that the great Dramatist, the author of the Immortal plays, would + or could have so signed his name? We trow not; indeed, such an + abbreviation would be impossible in a legal document in a Court of Law + where depositions are required to be signed in full. + </p> + <p> + With reference to the other so-called Shakespeare's signatures we must + refer the reader to our Chapter III. which was penned before these "New + Shakespeare Discoveries" were announced. And it is perhaps desirable to + say that the dot in the "W" which appears in two of those "so-called" + signatures of Shakespeare, and also in the one just discovered, is part of + the regular method of writing a "W" in the law writing of the period. In + the Purchase Deed of the property in Blackfriars, of March 10th 1612-13, + mentioned on page 38, there are in the first six lines of the Deed seven + "W's," in each of which appears a dot. And in the Mortgage Deed of March + 11th 1612-13, there are seven "W's" in the first five lines, in each of + which appears a similar dot. The above-mentioned two Deeds are in the + handwriting of different law clerks. + </p> + <p> + It may not be out of place here again to call our readers' attention to + the fact that law documents are required to be signed "in full," and that + if the very rapid and ready writer who wrote "Wilm Shaxp'r" were indeed + the Gentleman of Stratford it would have been quite easy for such a good + penman to have written his name in full; this the law writer has not done + because he did not desire to forge a signature to the document, but + desired only to indicate by an abbreviation that the dot or spot below was + the mark of William Shakespeare of Stratford-upon-Avon. + </p> + <p> + Thus the question, whether William Shakespeare, of Stratford-upon-Avon, + Gentleman, could or could not write his name is for ever settled in the + negative, and there is no doubt, there can be no doubt, upon this matter. + </p> + <p> + Dr. Wallace declares "I have had no theory to defend and no hypothesis to + propose." But as a matter of fact his whole article falsely assumes that + "William Shakespeare, of Stratford-upon-Avon, Gentleman," who is referred + to in the documents, is no other than the great Dramatist who wrote the + Immortal plays. And the writer can only express his unbounded wonder and + astonishment that even so ardent a Stratfordian as Dr. Wallace, after + studying the various documents which he discovered, should have ventured + to say: + </p> +<pre xml:space="preserve"> + "Shakespeare was the third witness examined. + Although, forsooth, the matter of his statements + is of no high literary quality and the manner is + lacking in imagination and style, as the Rev. + Joseph Green in 1747 complained of the will, we + feel none the less as we hear him talk that we + have for the first time met Shakespeare in the + flesh and that the acquaintance is good." +</pre> + <p> + As a matter of fact none of the words of any of the deponents are their + own words, but they are the words of the lawyers who drew the Answers to + the Interrogatories. The present writer, when a pupil in the chambers of a + distinguished lawyer who afterwards became a Lord Justice, saw any number + of Interrogatories and Answers to Interrogatories, and even assisted in + their preparation. The last thing that any one of the pupils thought of, + was in what manner the client would desire to express his own views. They + drew the most plausible Answers they could imagine, taking care that their + words were sufficiently near to the actual facts for the client to be able + to swear to them. + </p> + <p> + The so-called signature "Wilm Shaxp'r," is written by the lawyer or law + clerk who wrote the lower part of Shakespeare's depositions, and this same + clerk also wrote the depositions above the name of another witness who + really <i>signs</i> his own name, viz., "Daniell Nicholas." The only mark + William Shakespeare put to the document was the blot above which the + abbreviated name "Wilm Shaxp'r" was written by the lawyer or law clerk. + </p> + <p> + The documents shew that Shakespeare of Stratford occasionally "lay" in the + house in Silver Street, and Ben Jonson's words in "The Staple of News" + (Third Intermeane; Act iii.), to which Dr. Wallace refers viz., that + "Siluer-Streete" was "a good seat for a Vsurer" are very informing, + because as we have before pointed out the Stratford man was a cruel + usurer. + </p> + <p> + Dr. Wallace's contention that Mountjoy, the wig-maker, of the corner house + in Silver Street where Shakespeare, of Stratford-upon-Avon, Gentleman, + occasionally slept, was the original of the name of the Herald in Henry + V.[14] really surpasses, in want of knowledge of History, anything that + the writer has ever previously encountered, and he is afraid that it + really is a measure of the value of Dr. Wallace's other inferences + connecting the illiterate Stratford Rustic with the great Dramatist who + "took all knowledge for his province." + </p> + <p> + Dr. Wallace's "New Shakespeare Discoveries" are really extremely valuable + and informing, and very greatly assist the statements which the writer has + made in the previous chapters, viz., that the Stratford Householder was a + mean Rustic who was totally unable to read or to write, and was not even + an actor of repute, but was a mere hanger-on at the Theatre. Indeed, the + more these important documents are examined the clearer it will be + perceived that, as Dr. Wallace points out, they shew us that the real + William Shakespeare, of Stratford-upon-Avon, gentleman, was not the + "Aristocrat," whom Tolstoi declares the author of the plays to have been, + but was in fact a man who resided [occasionally when he happened to + revisit London] "in a hardworking family," a man who was familiar with + hairdressers and their apprentices, a man who mixed as an equal among + tradesmen in a humble position of life, who referred to him as "One + Shakespeare." These documents prove that "One Shakespeare" was not and + could not have been the "poet and dramatist." In a word these documents + strongly confirm the fact that + </p> +<pre xml:space="preserve"> + BACON IS SHAKESPEARE. +</pre> + <p> + [Illustration: Plate XLI. Facsimile of the Dedication of Powell's + "Attourney's Academy," 1630] + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2HCH0015" id="link2HCH0015"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + CHAPTER XV. — APPENDIX. + </h2> + <p> + The facsimile shewn in Plate 41, Page 176, is from "The Attourney's + Academy," 1630. The reader will perceive that the ornamental heading is + printed upside down. In the ordinary copies it is not so printed, but only + in special copies such as that possessed by the writer; the object of the + upside-down printing being, as we have already pointed out in previous + pages, to reveal, to those deemed worthy of receiving it, some secret + concerning Bacon. + </p> + <p> + In the present work, while we have used our utmost endeavour to place in + the vacant frame, the true portrait of him who was the wonder and mystery + of his own age and indeed of all ages, we have never failed to remember + the instructions given to us in "King Lear":— + </p> +<pre xml:space="preserve"> + "Have more than thou showest, + Speak less than thou knowest." +</pre> + <p> + Our object has been to supply exact and positive information and to + confirm it by proofs so accurate and so certain as to compel belief and + render any effective criticism an impossibility. + </p> + <p> + It may however not be without advantage to those who are becoming + convinced against their will, if we place before them a few of the + utterances of men of the greatest distinction who, without being furnished + with the information which we have been able to afford to our readers, + were possessed of sufficient intelligence and common sense to perceive the + truth respecting the real authorship of the Plays. + </p> +<pre xml:space="preserve"> + LORD PALMERSTON, b. 1784, d. 1865. +</pre> + <p> + Viscount Palmerston, the great British statesman, used to say that he + rejoiced to have lived to see three things—the re-integration of + Italy, the unveiling of the mystery of China and Japan, and the explosion + of the Shakespearian illusions.—<i>From the Diary of the Right Hon. + Mount-Stewart E. Grant</i>. + </p> +<pre xml:space="preserve"> + LORD HOUGHTON, b. 1809, d. 1885. +</pre> + <p> + Lord Houghton (better known as a statesman under the name of Richard + Monckton Milnes) reported the words of Lord Palmerston, and he also told + Dr. Appleton Morgan that he himself no longer considered Shakespeare, the + actor, as the author of the Plays. + </p> +<pre xml:space="preserve"> + SAMUEL TAYLOR COLERIDGE, b. 1772, d. 1834. +</pre> + <p> + Samuel Taylor Coleridge, the eminent British critic and poet, although he + assumed that Shakespeare was the author of the Plays, rejected the facts + of his life and character, and says: "Ask your own hearts, ask your own + common sense, to conceive the possibility of the author of the Plays being + the anomalous, the wild, the irregular genius of our daily criticism. + What! are we to have miracles in sport? Does God choose idiots by whom to + convey divine truths to man?" + </p> +<pre xml:space="preserve"> + JOHN BRIGHT, b. 1811, d. 1889. +</pre> + <p> + John Bright, the eminent British statesman, declared: "Any man that + believes that William Shakespeare of Stratford wrote Hamlet or Lear is a + fool." In its issue of March 27th 1889, the <i>Rochdale Observer</i> + reported John Bright as scornfully angry with deluded people who believe + that Shakespeare wrote Othello. + </p> +<pre xml:space="preserve"> + RALPH WALDO EMERSON, b. 1803, d. 1882. +</pre> + <p> + Ralph Waldo Emerson, the great American philosopher and poet, says: "As + long as the question is of talent and mental power, the world of men has + not his equal to show.... The Egyptian verdict of the Shakespeare + Societies comes to mind that he was a jovial actor and manager. I cannot + marry this fact to his verse."—<i>Emerson's Works. London, 1883. + Vol. 4, p. 420</i>. + </p> +<pre xml:space="preserve"> + JOHN GREENLEAF WHITTIER, b. 1807, d. 1892. +</pre> + <p> + John Greenleaf Whittier, the American poet, declared: "Whether Bacon wrote + the wonderful plays or not, I am quite sure the man Shakspere neither did + nor could." + </p> +<pre xml:space="preserve"> + DR. W. H. FURNESS, b. 1802, d. 1891. +</pre> + <p> + Dr. W. H. Furness, the eminent American scholar, who was the father of the + Editor of the Variorum Edition of Shakespeare's Works, wrote to Nathaniel + Holmes in a letter dated Oct. 29th 1866: "I am one of the many who have + never been able to bring the life of William Shakespeare and the plays of + Shakespeare within planetary space of each other. Are there any two things + in the world more incongruous? Had the plays come down to us anonymously, + had the labor of discovering the author been imposed upon after + generations, I think we could have found no one of that day but F. Bacon + to whom to assign the crown. In this case it would have been resting now + on his head by almost common consent." + </p> +<pre xml:space="preserve"> + MARK TWAIN, b. 1835, d. 1910. +</pre> + <p> + Samuel Langhorne Clemens, who wrote under the pseudonym of Mark Twain, + was,—it is universally admitted,—one of the wisest of men. + Last year (1909) he published a little book with the title, "Is + Shakespeare dead?" In this he treats with scathing scorn those who can + persuade themselves that the immortal plays were written by the Stratford + clown. He writes, pp. 142-3: "You can trace the life histories of the + whole of them [the world's celebrities] save one far and away the most + colossal prodigy of the entire accumulation—Shakespeare. About him + you can find out <i>nothing</i>. Nothing of even the slightest importance. + Nothing worth the trouble of stowing away in your memory. Nothing that + even remotely indicates that he was ever anything more than a distinctly + common-place person—a manager,[15] an actor of inferior grade, a + small trader in a small village that did not regard him as a person of any + consequence, and had forgotten him before he was fairly cold in his grave. + We can go to the records and find out the life-history of every renowned + <i>race-horse</i> of modern times—but not Shakespeare's! There are + many reasons why, and they have been furnished in cartloads (of guess and + conjecture) by those troglodytes; but there is one that is worth all the + rest of the reasons put together, and is abundantly sufficient all by + itself—<i>he hadn't any history to record</i>. There is no way of + getting around that deadly fact. And no sane way has yet been discovered + of getting round its formidable significance. Its quite plain significance + —to any but those thugs (I do not use the term unkindly) is, that + Shakespeare had no prominence while he lived, and none until he had been + dead two or three generations. The Plays enjoyed high fame from the + beginning." + </p> +<pre xml:space="preserve"> + PRINCE BISMARCK, b. 1815, d. 1898. +</pre> + <p> + We are told in Sydney Whitman's "Personal Reminiscences of Prince + Bismarck," pp. 135-6, that in 1892, Prince Bismarck said, "He could not + understand how it were possible that a man, however gifted with the + intuitions of genius, could have written what was attributed to + Shakespeare unless he had been in touch with the great affairs of state, + behind the scenes of political life, and also intimate with all the social + courtesies and refinements of thought which in Shakspeare's time were only + to be met with in the highest circles." + </p> + <p> + "It also seemed to Prince Bismarck incredible that the man who had written + the greatest dramas in the world's literature could of his own free will, + whilst still in the prime of life, have retired to such a place as + Stratford-on-Avon and lived there for years, cut off from intellectual + society, and out of touch with the world." + </p> + <p> + The foregoing list of men of the very greatest ability and intelligence + who were able clearly to perceive the absurdity of continuing to accept + the commonly received belief that the Mighty Author of the immortal Plays + was none other than the mean rustic of Stratford, might be extended + indefinitely, but the names that we have mentioned are amply sufficient to + prove to the reader that he will be in excellent company when he himself + realises the truth that + </p> +<pre xml:space="preserve"> + BACON IS SHAKESPEARE. +</pre> + <h3> + A NEUER WRITER, TO AN EUER READER. NEWES. + </h3> + <p> + Eternall reader, you haue heere a new play, neuer stal'd with the Stage, + neuer clapper-clawd with the palmes of the vulger, and yet passing full of + the palme comicall; for it is a birth of your braine, that neuer + under-tooke any thing commicall, vainely: And were but the vaine names of + commedies changde for the titles of Commodities, or of Playes for Pleas; + you should see all those grand censors, that now stile them such vanities, + flock to them for the maine grace of their grauities: especially this + authors Commedies, that are so fram'd to the life, that they serve for the + most common Commentaries, of all the actions of our Hues shewing such a + dexteritie, and power of witte, that the most displeased with Playes are + pleasd with his Commedies..... + </p> + <p> + And beleeue this, that when hee is gone, and his Commedies out of sale, + you will scramble for them, and set up a new English Inquisition. Take + this for a warning, and at the perrill of your pleasures losse, and + Judgements, refuse not, nor like this the lesse, for not being sullied, + with the smoaky breath of the multitude.[16] + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0017" id="link2H_4_0017"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ADDENDA ET CORRIGENDA. + </h2> + <p> + Footnote to page 45. There was a forest of Arden in Warwickshire. + </p> + <p> + Footnote to page 51. This Richard Quyney's son Thomas married 10th + February 1616, Judith, William Shakespeare's younger daughter, who, like + her father, the supposed poet, was totally illiterate, and signed the + Register with a mark. + </p> + <p> + Footnote to page 62. In 1615, although nothing of poetical importance + bearing Bacon's name had been published, we find in Stowe's "Annales," p. + 811, that Bacon's name appears seventh in the list there given of + Elizabethan poets. + </p> + <h3> + ERRATA. + </h3> +<pre xml:space="preserve"> + P. 5. For "knew little Latin" read "had small Latin." + P. 29. For "line 511" read "line 512." + P. 81. For "Montegut" read "Montegut." + For "Greek for crowned" read "Greek for + crown." + P. 93 & 94. For "Quintillian" read "Quintilian." + P. 133. For "Greek name" read "Greek word." +</pre> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_4_0018" id="link2H_4_0018"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + PROMUS OF FOURMES AND ELEGANCYES BY FRANCIS BACON. + </h2> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_PREF" id="link2H_PREF"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + PREFACE TO PROMUS + </h2> + <p> + To these Essays I have attached a carefully collated reprint of Francis + Bacon's "Promus of Formularies and Elegancies," a work which is to be + found in Manuscript at the British Museum in the Harleian Collection (No. + 7,017.) + </p> + <p> + The folios at present known are numbered from 83 to 132, and are supposed + to have been written about A.D. 1594-6, because folio 85 is dated December + 5th 1594, and folio 114, January 27 1595. + </p> + <p> + The pagination of the MS. is modern, and was inserted for reference + purposes when the Promus was bound up in one volume together with certain + other miscellaneous manuscripts which are numbered from 1 to 82, and from + 133 onwards. + </p> + <p> + A facsimile of a portion of a leaf of the Promus MS., folio 85, is given + on pages 190-91, in order to illustrate Bacon's handwriting, and also to + shew his method of marking the entries. It will be perceived that some + entries have lines //// drawn across the writing, while upon others marks + similar to the capital letters T, F, and A are placed at the end of the + lines. But as the Promus is here printed page for page as in the + manuscript, I am not raising the question of the signification of these + marks, excepting only to say they indicate that Bacon made considerable + use of these memoranda. + </p> + <p> + "Promus" means larder or storehouse, and these "Fourmes, Formularies and + Elegancyes" appear to have been intended as a storehouse of words and + phrases to be employed in the production of subsequent literary works. + </p> + <p> + Mrs. Pott was the first to print the "Promus," which, with translations + and references, she published in 1883. In her great work, which really may + be described as monumental, Mrs. Pott points out, by means of some + thousands of quotations, how great a use appears to have been made of the + "Promus" notes, both in the acknowledged works of Bacon and in the plays + which are known as Shakespeare's. + </p> + <p> + Mrs. Pott's reading of the manuscript was extremely good, considering the + great difficulty experienced in deciphering the writing. But I thought it + advisable when preparing a reprint to secure the services of the late Mr. + F. B. Bickley, of the British Museum, to carefully revise the whole of + Bacon's "Promus." This task he completed and I received twenty-four + proofs, which I caused to be bound with a title page in 1898. There were + no other copies, the whole of the type having unfortunately been broken + up. The proof has again been carefully collated with the original + manuscript and corrected by Mr. F. A. Herbert, of the British Museum, and + I have now reprinted it here, as I am satisfied that the more Bacon's + Promus—the Storehouse—is examined, the more it will be + recognised how large a portion of the material collected therein has been + made use of in the Immortal Plays, and I therefore now issue the Promus + with the present essay as an additional proof of the identity of Bacon and + Shakespeare. + </p> +<pre xml:space="preserve"> + EDWIN DURNING-LAWRENCE. +</pre> + <p> + [Illustration: Plate XLII. Facsimile of portion of Folio 85 of the + Original MS of Bacon's "Promus." see page 199] + </p> + <p> + [Illustration: Plate XLIII. Portrait of Francis Bacon, from a Painting by + Van Somers. Formerly in the Collection of the Duke of Fife] + </p> +<pre xml:space="preserve"> + Promus of Formularies. + + <i>Folio 83, front</i>. + + Ingenuous honesty and yet with opposition and + strength. + Corni contra croci good means against badd, homes + to crosses. + In circuitu ambulant impij; honest by antiperistasis. + Siluj a bonis et dolor meus renouatus est. + Credidj propter quod locutus sum. + Memoria justi cum laudibus at impiorum nomen + putrescet + Justitiamque omnes cupida de mente fugarunt. + Non recipit stultus verba prudential nisi ea dixeris + quaee uersantur in corde ejus + Veritatem erne et noli vendere + Qui festinat ditari non erat insons + Nolite dare sanctum canibus. + Qui potest capere capiat + Quoniam Moses ad duritiam cordis uestri permisit + uobis + Obedire oportet deo magis quam hominibus. + Et vniuscujusque opus quale sit probabit ignis + Non enim possumus aliquid aduersus ueritatem sed + pro ueritate. + + <i>Folio 83, front—continued</i>. + + For which of y'e good woorkes doe yow stone me + Quorundam hominum peccata praecedunt ad judicium + quorundam sequuntur + Bonum certamen certauj + Sat patriae priamoque datum. + Ilicet obruimur numero. + Atque animis illabere nostris + Hoc praetexit nomine culpam. + Procul o procul este prophani + Magnanimj heroes nati melioribus annis + + <i>Folio 83, back</i>. + + Ille mihi ante alios fortunatusque laborum + Egregiusque animi qui ne quid tale videret + Procubuit moriens et humum semel ore momordit + Fors et uirtus miscentur in vnum. + Non ego natura nec sum tam callidus vsu. + aeuo rarissima nostro simplicitas + Viderit vtilitas ego cepta fideliter edam. + Prosperum et foelix scelus, virtus vocatur + Tibi res antiquas laudis et artis + Inuidiam placare paras uirtute relicta. + Iliacos intra muros peccatur et extra + Homo sum humanj a me nil alienum puto. + The grace of God is woorth a fayre + Black will take no other hue + Vnum augurium optimum tueri patria. + Exigua res est ipsa justitia + Dat veniam coruis uexat censura columbas. + Homo hominj deus + Semper virgines furiae; Cowrting a furye + Di danarj di senno et di fede + Ce ne manco che tu credj + Chi semina spine non vada discalzo + Mas vale a quien Dios ayuda que a quien mucho + madruga. + Quien nesciamente pecca nesciamente ua al infierno + Quien ruyn es en su uilla + Ruyn es en Seuilla + De los leales se hinchen los huespitales + + <i>Folio 84, front</i>. + + We may doe much yll or we doe much woorse + Vultu laeditur saepe pietas. + Difficilia quae pulchra + Conscientia mille testes. + Summum Jus summa injuria + Nequiequam patrias tentasti lubricus artes. + Et monitj meliora sequamur + Nusquam tuta fides + Discite Justitiam moniti et non temnere diuos + Quisque suos patimur manes. + Extinctus amabitur idem. + Optimus ille animi vindex laedentium pectus + Vincula qui rupit dedoluitque semel. + Virtue like a rych geme best plaine sett + Quibus bonitas a genere penitus insita est + ij iam non mali esse nolunt sed nesciunt + Oeconomicae rationes publicas peruertunt. + Divitiae Impedimenta virtutis; The bagage of + vertue + Habet et mors aram. + Nemo virtuti invidiam reconciliauerit praeter + mort ... + Turpe proco ancillam sollicitare Est autem + virtutis ancilia laus. + Si suum cuique tribuendum est certe et venia + humanitati + Qui dissimulat liber non est + Leue efficit jugum fortunae jugum amicitiae + Omnis medecina Innouatio + + <i>Folio 84, front—continued</i>. + + Auribus mederi difficillimum. + Suspitio fragilem fidem soluit fortem incendit + Pauca tamen suberunt priscae vestigia fraudis + Dulce et decorum est pro patria mori + Mors et fugacem persequitur virum. + Danda est hellebori multo pars maxima avar [is] + + <i>Folio 84, back</i>. + + Minerall wytts strong poyson and they be not + corrected + aquexar. + Ametallado fayned inameled. + Totum est majus sua parte against factions and + priuate profite + Galens compositions not paracelsus separations + Full musike of easy ayres withowt strange concordes + and discordes + In medio non sistit uirtus + Totem est quod superest + A stone withowt foyle + A whery man that lookes one way and pulls another + Ostracisme + Mors in Olla poysonings + Fumos uendere. + + [Sidenote up the left margin oriented at ninety degrees to the text: + FOURMES COMERSATE] + + <i>Folio 85, front</i>. + + Dec. 5, 1594. + + Promus + // Suauissima vita indies meliorem fierj + The grace of God is woorth a faire + Mors in olla F + // No wise speech thowgh easy and voluble. + Notwithstanding his dialogues (of one that giueth + life to his speach by way of quaestion). T + He can tell a tale well (of those cowrtly giftes of + speach w'ch. are better in describing then in + consydering) F + A goode Comediante T (of one that hath good + grace in his speach) + To commend Judgments. + // To comend sense of law + // Cunyng in the humors of persons but not in the + condicons of actions + Stay a littell that we make an end the sooner. A + // A fooles bolt is soone shott + His lippes hang in his light. A. T + // Best we lay a straw hear + A myll post thwitten to a pudding pricke T + // One swallo maketh no sumer + L'Astrologia e vera ma l'astrologuo non sj truoua + // Hercules pillers non vltra. T + // He had rather haue his will then his wyshe. T + Well to forgett + Make much of yourselfe + + <i>Folio 85, front—continued</i>. + + Wyshing yow all &c and myself occasion to doe + yow servyce + // I shalbe gladd to vnderstand your newes but none + // rather then some ouerture whearin I may doe + // yow service + // Ceremonyes and green rushes are for strangers T + How doe yow? They haue a better question in cheap side w'lak ye + // Poore and trew. Not poore therefore not trew T + + <i>Folio 85, back</i>. + + Tuque Inuidiosa vestustas. T + Licentia sumus omnes deteriores. T + Qui dat nivem sicut lanam T + Lilia agri non laborant neque nent T + Mors omnia solvit T + // A quavering tong. + like a cuntry man that curseth the almanach. T + Ecce duo gladij his. T + Arnajore ad minorem. T + In circuitu ambulant impij T + Exijt sermo inter fratres quod discipulus iste non + moritur T + Omne majus continet in se mjnus T + Sine vlla controuersia quod minus est majore + benedic ... T + She is light she may be taken in play T + He may goe by water for he is sure to be well + landed T + // Small matters need sollicitacion great are remem- + bred of themselues + The matter goeth so slowly forward that I haue + almost forgott it my self so as I maruaile not + if my frendes forgett + Not like a crabb though like a snaile + Honest men hardly chaung their name. T + The matter thowgh it be new (if that be new wch) + hath been practized in like case thowgh not in + this particular + I leaue the reasons to the parties relacions and the + consyderacion of them to your wysdome +</pre> +<pre xml:space="preserve"> + <i>Folio 86, front</i>. +</pre> +<pre xml:space="preserve"> + I shall be content my howrs intended for service + leaue me in liberty + // It is in vayne to forbear to renew that greef by + // speach w'ch the want of so great a comfort must + // needes renew. + // As I did not seeke to wynne your thankes so your + // courteous acceptacion deserueth myne + // The vale best discouuereth the hill T. + // Sometymes a stander by seeth more than a plaier T. + The shortest foly is the best. T. + // I desire no secrett newes but the truth of comen + newes. T. + // Yf the bone be not trew[17] sett it will neuer be well + till it be broken. T. + // Cheries and newes fall price soonest. T. + You vse the lawyers fourme of pleading T. + // The difference is not between yow and me but + between your proffite and my trust + // All is not in years some what is in howres well + spent. T. + // Offer him a booke T + // Why hath not God sent yow my mynd or me your + // means. + // I thinke it my dowble good happ both for the + obteynyng and for the mean. + // Shutt the doore for I mean to speak treason T. + I wysh one as fytt as I am vnfitt + I doe not onely dwell farre from neighbors but near + yll neighbors. T + + <i>Folio 86, front—continued</i>. + + // As please the paynter T. + Receperunt mercedem suam. T. + Secundum tidem vestram fiet vobis + Ministerium meum honorificabo + + <i>Folio 86, back</i>. + + Beati mortuj qui moriuntur in domino + Detractor portat Diabolum in lingua T + frangimur heu fatis inquit ferimurque procella + Nunc ipsa vocat res + Dij meliora pijs erroremque hostibus illum + Aliquisque malo fuit vsus in illo + Vsque acleo latet vtilitas + Et tamen arbitrium que, rit res ista duorum. + Vt esse phebi dulcius lumen solet + Jam jam cadentis + Velle suum cuique est nee voto viuitur vno + Who so knew what would be dear + Nead be a marchant but a year. + Blacke will take no other hew + He can yll pipe that wantes his vpper lip + Nota res mala optima + Balbus balbum rectius intelligit + L' agua va al mar + A tyme to gett and a tyme to loose + Nee dijs nee viribus equis + Vnum pro multis dabitur caput + Mitte hanc de pectore curam + Neptunus ventis impleuit vela secundis + A brayne cutt with facettes T + T Yow drawe for colors but it prooueth contrarie + T Qui in paruis non distinguit in magnis labitur. + Every thing is subtile till it be conceyued + + <i>Folio 87, front</i>. + + That y't. is forced is not forcible + More ingenious then naturall + Quod longe jactum est leviter ferit + Doe yow know it? Hoc solum scio quod nihil scio + I know it? so say many + Now yow say somewhat.s. euen when yow will; now + yow begynne to conceyue I begynne to say. + What doe yow conclude vpon that? etiam tentas + All is one.s. Contrariorum eadam est ratio. + Repeat your reason.s. Bis ac ter pulchra. + Hear me owt.s. you were neuer in. + Yow iudg before yow vnderstand.s. I iudg as I vnderstand. + You goe from the matter.s. But it was to folow yow. + Come to the poynt.s. why I shall not find yow thear + Yow doe not vnderstand y'e poynt.s. for if I did. + Let me make an end of my tale.s. That which I + will say will make an end of it + Yow take more then is graunted.s. + you graunt lesse then is prooued + Yow speak colorably.s. yow may not say truly. + That is not so by your fauour.s. But by my reason + it is so + + <i>Folio 87, back</i>. + + It is so I will warrant yow.s. yow may warrant me + but I thinke I shall not vowche yow + Awnswere directly.s. yow mean as you may direct + me + Awnswere me shortly.s. yea that yow may coment + vpon it. + The cases will come together.s. It wilbe to fight + then. + Audistis quia dictum est antiquis + Secundum hominem dico + Et quin[18] non novit talia? + Hoc praetexit nomine culpa + Et fuit in toto notissima fabula celo + Quod quidam facit + Nee nihil neque omnia sunt quae dicit + Facete nunc demum nata ista est oratio + Qui mal intend pis respond + Tum decujt cum sceptra dabas + En haec promissa fides est? + Proteges eos in tabernaculo tuo a contradictione + linuarum. + [Greek: prin to thronein katathronein epistasai] + Sicut audiuimus sic vidimus + Credidj propter quod locutus sum. + Quj erudit derisorem sibj injuriam facit + Super mjrarj ceperunt philosopharj + + <i>Folio 88, front</i>. + + Prudens celat scientiam stultus proclamat stultitiam + Querit derisor sapientiam nee invenit eam. + Non recipit stultus verba prudentie nisi ea dixeris + quae sunt in corde ejus + Lucerna Dej spiraculum hominis + Veritatem eme et noli vendere + Melior claudus in via quam cursor extra viam. + The glory of God is to conceale a thing and the + glory of man is to fynd owt a thing. + Melior est finis orationis quam principium. + Injtium verborum ejus stultitia et novissimum oris + illius pura insania + Verba sapientium sicut aculej et vebut clavj in + altum defixj. + Quj potest capere capiat + Vos adoratis quod nescitis + Vos nihil scitis + Quod est veritas. + Quod scripsj scripsj + Nolj dicere rex Judeorum sed dicens se regem + Judeorum + Virj fratres liceat audacter dicere apud vos + Quod uult seminator his verborum dicere + + <i>Folio 88, back</i>. + + Multe te litere ad Insaniam redigunt. + Sapientiam loquiraur inter perfectos + Et Justificata est sapientia a filijs suis. + Scientia inflat charitas edificat + Eadem vobis scribere mihi non pigrum vobis autem + necessarium + Hoc autem dico vt nemo vos decipiat in sublimi- + tate sermonum. + Omnia probate quod bonum este tenete + Fidelis sermo + Semper discentes et nunquam ad scientiam veritatis + pervenientes + Proprius ipsorum propheta + Testimonium hoc verum est + Tantam nubem testium. + Sit omnis homo velox ad audiendum tardus ad + loquendum. + Error novissimus pejor priore. + Quecunque ignorant blasphemant + Non credimus quia non legimus + Facile est vt quis Augustinum vincat viderit vtrum + veritate an clamore. + Bellum omnium pater + De nouueau tout est beau + De saison tout est bon + Dj danarj di senno et di fede + Ce ne manca che tu credj + Di mentira y saqueras verdad + + <i>Folio 89, front</i>. + + Magna Civitas magna solitude + light gaines make heuy purses + He may be in my paternoster indeed + But sure he shall neuer be in my Creed + Tanti causas sciat ilia furosis + What will yow? + For the rest + It is possible + Not the lesse for that + Allwaies provyded + Yf yow stay thear + for a tyme + will yow see + what shalbe the end. + Incident + Yow take it right + All this while + Whear stay we? prima facie. + That agayne. more or less. + I find that straunge It is bycause + Not vnlike quasi vero + Yf that be so Best of all + What els + Nothing lesse + Yt cometh to that + Hear yow faile + To meet with that + Bear with that + And how now + + <i>Folio 89, front—continued</i>. + + Of grace + as if + let it not displease yow + Yow putt me in mynd + I object, I demaund I distinguish etc. + A matter not in question + few woordes need + much may be said, + yow haue + well offred. + The mean the tyme + All will not serue + Yow haue forgott nothing. + Causa patet + Tamen quaere. + Well remembred + I arreste yow thear + I cannot thinke that + Discourse better + I was thinking of that + I come to that + That is iust nothing + Peraduenture Interrogatory. + Se then how (for much lesse) + + NOTE.—This folio is written in three columns. The first two are printed + on page 209, and this page forms the third column. The first line, "Of + grace," is written opposite the sixth line on page 209, "What will yow?" + + <i>Folio 89, back</i>. + + Non est apud aram Consultandem. + Eumenes litter + Sorti pater equus vtrique + Est quoddam [<i>sic</i>] prodire tenus si non datur vltra. + Quem si non tenuit magnis tamen excidit ausis + Conamur tenues grandia + Tentantem majora fere praesentibus equum. + Da facilem cursum atque audacibus annue ceptis + Neptunus ventis implevit vela secundis + Crescent illae crescetis Amores + Et quae nunc ratio est impetus ante fuit + Aspice venturo laetentur vt omnia seclo + In Academijs discunt credere + <i>Vos adoratis quod nescitis</i> + To gyue Awthors thear due as yow gyue Tyme his + dew w'ch is to discouuer troth. + Vos graeci semper pueri + Non canimus surdis respondent omnia syluae + populus volt decipi + <i>Scientiam loquimur inter perfectos + Et Justificata est sapientia a filijs suis</i> + Pretiosa in oculis domini mors sanctorum ejus + Felix qui potuit rerum cognoscere causas. + Magistratus virum iudicat. + Da sapienti occasionem et addetur ej sapienta + Vite me redde priorj + I had rather know then be knowne + + <i>Folio 90, front</i>. + + Orpheus in syluis inter Delphinas Arion + Inopem me copia fecit. + An instrument in tunyng + A yowth sett will neuer be higher. + like as children doe w'th their babies when they haue + plaied enowgh wth them they take sport to + undoe them. + Faber quisque fortune suae + Hinc errores multiplices quod de partibus vitae + singuli deliberant de summa nemo. + Vtilitas magnos hominesque deosque efficit auxilijs + quoque fauente suis. + Qui in agone contendit a multis abstinet + Quidque cupit sperat suaque illum oracula fallunt + Serpens nisi serpentem comederit non fit Draco + The Athenians holyday. + Optimi consiliarij mortuj + Cum tot populis stipatus eat + In tot populis vix vna fides + Odere Reges dicta quae dici iubent + Nolite confidere in principibus + Et multis vtile bellum. + Pulchrorum Autumnus pulcher + Vsque adeone times quern tu facis ipse timendum. + Dux femina facti + Res est ingeniosa dare + A long wynter maketh a full ear. + Declinat cursus aurumque uolubile tollit + Romaniscult. + Vnum augurium optimum tueri patriam + Bene omnia fecit + + <i>Folio 90, back</i>. + + Et quo quenque modo fugiatque feratque laborem edocet. + Non vlla laborum o virgo nova mi facies inopinave surgit; + Omnia praecepi atque animo mecum ante peregi. + Cultus major censu + Tale of y'e frogg that swelled. + Viderit vtilitas + Qui eget verseter in turba + While the legg warmeth the boote harmeth + Augustus rapide ad locum leniter in loco + My father was chudd for not being a baron. + Prowd when I may doe any man good. + I contemn few men but most thinges. + A vn matto vno & mezo + Tantene animis celestibus ire + Tela honoris tenerior + Alter rixatur de lana sepe caprina + Propugnat nugis armatus scilicet vt non + Sit mihi prima fides. + Nam cur ego amicum offendam in nugis + A skulter + We haue not drunke all of one water. + Ilicet obruimur numer[o]. + Numbring not weighing + let them haue long mornynges that haue not good + afternoones + Cowrt howres + Constancy to remayne in the same state + + <i>Folio 90, back—continued</i>. + + The art of forgetting. + Rather men then maskers. + Variam dans otium mentem + Spire lynes. + + <i>Folio 91, front</i>. + + Veruntamen vane conturbatur omnis homo + Be the day never so long at last it ringeth to + even-song. + Vita salillum. + Non possumus aliquid contra veritatem sed pro veritate. + Sapie[n]tia quoque perseueravit mecum + Magnorum fluuiorum navigabiles fontes. + Dos est vxoria lites + Haud numine nostro + Atque animis illabere nostris + Animos nil magne laudi egentes + Magnanimj heroes nati mehioribus annis + AEuo rarissima nostro Simplicitas + Qui silet est firmus + Si nunquam fallit imago + And I would haue thowght + Sed fugit interea fugit irreparabile temp[us] + Totum est quod superest + In a good beleef + Possunt quia posse videntur + Justitiamque omnes cupida de mente fugaru[nt] + Lucrificulus + Qui bene nugatur ad mensam sepe vocatur + faciunt et tedi[urn finitum?][19] + Malum bene conditum ne moveas + Be it better be it woorse + Goe yow after him that beareth the purse + Tranquillo quilibet gubernator + Nullus emptor difficilis bonum emit opsonium + Chi semina spine non vada discalzo + + <i>Folio 91, back</i>. + + Quoniam Moses ad duritiem cordis permi [sit] vobis + Non nossem peccatum nisi per legem. + Discite Justitiam monit; + Vbj testamentum ibi necesse est mors intercedat + testatoris + Scimus quia lex bona est si quis ea vtatur legitime + Ve vobis Jurisperitj + Nee me verbosas leges ediscere nee me Ingrato + voces prostituisse foro. + fixit leges pretio atque refixit + Nec ferrea Jura Insanumque forum et populi + tabularia vidit + Miscueruntque novercae non innoxia verba + Jurisconsultj domus oraculum Civitatis + now as ambiguows as oracles. + Hic clamosi rabiosa forj + Jurgia vendens improbus + Iras et verba locat + In veste varietas sit scissura non sit + Plenitude potestatis est plenitudo tempestatis + Iliacos intra muros peccatur et extra + Prosperum et felix scelus virtus vocatur + Da mihi fallere da iustum sanctumque viderj. + Nil nisi turpe iuuat cure est sua cuique voluptas + Hec quoque ab alterius grata dolore venit + Casus ne deusne + fabuleque manes + + <i>Folio 92, front</i>. + + Ille Bioneis sermonibus et sale nigro + Existimamus diuitem omnia scire recte + Querunt cum qua gente cadant + Totus mu[n]dus in malingo positus + O major tandem parcas insane minori + Reall + forma dat esse + Nee fandj fictor Vlisses + Non tu plus cernis sed plus temerarius audes + Nec tibj plus cordis sed minus oris inest. + Invidiam placare paras virtute relicta + [Greek: ho polla klepsas oliga douk ekpheuxetai] + Botrus oppositus Botro citius maturescit. + Old treacle new losanges. + Soft fire makes sweet malt. + Good to be mery and wise. + Seeldome cometh the better. + He must needes swymme that is held vp by the chynne. + He that will sell lawne before he can fold it. + Shall repent him before he haue sold it. + No man loueth his fetters thowgh they be of gold. + The nearer the church the furder from God. + All is not gold that glisters. + Beggers should be no chuzers. + A beck is as good as a dieu vous gard. + The rowling stone neuer gathereth mosse. + Better children weep then old men. + + <i>Folio 92, back</i>. + + When bale is heckst boote is next. + Ill plaieng w'th short dag (taunting replie). + He that neuer clymb neuer fell. + The loth stake standeth long. + Itch and ease can no man please. + To much of one thing is good for nothing. + Ever spare and euer bare. + A catt may looke on a Kyng. + He had need be a wyly mowse should breed in the + cattes ear. + Many a man speaketh of Rob. hood that neuer shott + in his bowe. + Batchelers wyues and maides children are well + taught. + God sendeth fortune to fooles. + Better are meales many then one to mery. + Many kisse the child for the nurses sake. + When the head akes all the body is the woorse. + When theeues fall owt trew men come to their good. + An yll wynd that bloweth no man to good. + All this wynd shakes no Corn. + Thear be more waies to the wood then one. + Tymely crookes the Tree that will a good Camocke be. + Better is the last smile then thefirst laughter. + No peny no pater noster. + Every one for himself and God for vs all. + + <i>Folio 93, front</i>. + + Long standing and small offring. + The catt knowes whose lippes she lickes. + As good neuer a whitt as neuer the better. + fluvius quae procul sunt irrigat. + As far goeth the pilgrymme as the post. + Cura esse quod audis. + [Greek: Erga neon Bomlai de meson enchai de geronton.] + Taurum tollet qui vitulum sustulerit. + Lunae radijs non maturescit Botrus. + Nil profuerit Bulbus; y'e potado will doe no good. + Dormientis rete trahit The sleeping mans nett draweth. + ijsdem e literis efficitur Tragedia et Comedia. + Tragedies and Comedies are made of one Alphabett. + Good wyne needes no bush. + Heroum filij noxae. + The sonnes of demy goddes demy men. + Alia res sceptrum alia plectrum + fere danides.[20] + Abore dejecta quivis ligna colligit. + The hasty bytch whelpes a blind lytter. + Priscis credendum. + We must beleeue the wytnesses are dead. + Thear is no trusting a woman nor a tapp. + + <i>Folio 93, back</i>. + + Not onely y'e Spring but the Michelmas Spring. + Virj iurejurandi pueri talis fallendj. + Ipsa dies quandoque parens quandoque noverca est. + Vbj non sis qui fueris non esse cur velis viuere. + Compendiaria res improbitas. + It is in action as it is in wayes; comonly the nearest + is the fowlest. + Lachrima nil citius arescit. + woorke when God woorkes. + A shrewd turn comes vnbidden. + Hirundines sub eodem tecto ne habeas. + A thorn is gentle when it is yong. + Aut regem aut fatuum nasci oportet (of a free jester). + Exigua res est ipsa Justitia. + Quae non posuistj ne tollas. + Dat veniam coruis vexat Censura columbas. + Lapsa lingua verum dicit. + The toung trippes vpon troth. + The evill is best that is lest [best?] knowen. + A mercury cannot be made of every wood (bvt + priapus may). + Princes haue a Cypher. + Anger of all passions beareth the age lest [best?]. + One hand washeth another. + Iron sharpeth against Iron. + + <i>Folio 94, front</i>. + + Eyther bate conceyte or putt to strength. + faciunt et sphaceli Immunitatem. + He may be a fidler that cannot be a violine. + Milke the staunding Cowe. Why folowe yow the + flyeng. + He is the best prophete that telleth the best fortune. + Garlike and beans + like lettize like lips. + Mons cum monte non miscetur. + Hilles meet not. + A northen man may speake broad. + Haesitantia Cantoris Tussis. + No hucking Cator buyeth good achates. + Spes alit exules. + Romanus sedendo vincit. + Yow must sowe w'th the hand not w'th the baskett. + Mentiuntur multa cantores (few pleasing speches + true). + It is noth if it be in verse. + Leonis Catulum ne alas. + He cowrtes a fury. + Dij laneos habent pedes (They leaue no prynt). + The weary ox setteth stronger. + A mans customes are the mowldes whear his fortune + is cast. + + <i>Folio 94, back</i>. + + Beware of the vinegar of sweet wyne. + Adoraturj sedeant.[21] + To a foolish people a preest possest. + The packes may be sett right by the way. + It is the Cattes nature and the wenches fault. + Coene fercula nostre. + Mallem conviuis quam placuisse cocis. + Al Confessor medico e aduocato. + Non si de tener [tena?] il ver celato. + Assaj ben balla a chi fortuna suona. + A yong Barber and an old phisicion. + Buon vin Cattina testa dice il griego. + Buon vin fauola lunga. + good watch chazeth yll aduenture. + Campo rotto paga nuoua. + Better be martyr then Confessor. + L'Imbassador no porta pena. + Bella botta non ammazza vecello. + A tender finger maketh a festred sore. + A catt will neuer drowne if she see the shore. + Qui a teme [temor?] a lie. + He that telleth tend [tond?] lyeth is eyther a foole + himself or he to whome he telles them. + Che posce a [ci?] Cana pierde piu che guadagna. + + <i>Folio 95, front</i>. + + Ramo curto vindimi lunga + Tien l'amico tuo con viso suo. + Gloria in the end of the salme + An asses trott and a fyre of strawe dureth not + Por mucho madrugar no amanece mas ayna + Erly rising hasteneth not y'e morning. + Do yra el Buey que no are? + Mas vale buena quexa que mala paga + Better good pleint then yll pay + He that pardons his enemy the amner shall haue + his goodes + Chi offendi maj perdona + He that resolues in hast repentes at leasure + A dineros pagados brazos quebrados. + Mas uale bien de lexos que mal de cerca. + El lobo & la vulpeja son todos d'vna conseja + No haze poco quien tu mal echa a otro (oster before) + El buen suena, el mal buela. + At the trest of the yll the lest + Di mentira y sagueras verdad + Tell a lye to knowe a treuth + La oveja mansa mamma su madre y agena + En fin la soga quiebra por el mas delgado. + Quien ruyn es en su villa ruyn es en Sevilla + Quien no da nudo pierde punto + Quien al Ciel escupe a la cara se le buelve + Covetousenesse breakes the sacke + Dos pardales a tua espiga haze mala ligua + + <i>Folio 95, back</i>. + + Quien ha las hechas ha las sospechas. + La muger que no vera no haze larga tela + Quien a las hechas ha las sospechas. + Todos los duelos con pan son buenos. + El mozo por no saber, y el viejo por no poder dexan + las cosas pierder. + La hormiga quandose a de perder nasiente alas + De los leales se hinchen los huespitales. + Dos que se conoscan de lexos se saludan. + Bien ayrna quien mal come. + Por mejoria mi casa dexaria + Hombre apercebido medio combatido + He caries fier in one hand and water in the other + To beat the bush while another catches the byrd + To cast beyond the moone + His hand is on his halfpeny + As he brues so he must drinke + Both badd me God speed but neyther bad me wellcome + To bear two faces in a whood + To play cold prophett + To sett vp a candell before the devill + He thinketh his farthing good syluer + + <i>Folio 96, front</i>. +</pre> +<pre xml:space="preserve"> + Let them that be a cold blowe at the cold. + I haue seen as farre come as nigh + The catt would eat fish but she will not wett her foote + Jack would be a gentleman if he could speake french + Tell your cardes and tell me what yow haue wonne + Men know how the markett goeth by the markett men. + The keyes hang not all by one mans gyrdell. + While the grasse growes the horse starueth + I will hang the bell about the cattes neck. + He is one of them to whome God bedd heu + I will take myne altar in myne armes + for the mooneshyne in the water + It may ryme but it accords not + To make a long haruest for a lyttell corn + + <i>Folio 96, back</i>. + + Neyther to heavy nor to hott + Soft for dashing + Thowght is free + The deuill hath cast a bone to sett strife + To putt ones hand between the barke and the Tree + Who meddles in all thinges may shoe the gosling + Let the catt wynke and lett the mowse runne + He hath one pointe of a good haulke he is handy + The first poynt of a faulkener to hold fast + Ech finger is a thumb + Owt of Gods blessing into the warme sune. + At eve[r]y dogges barke to awake + A lone day + My self can tell best where my shoe wringes me + A cloke for the Rayne + To leap owt of the frieng pan into the fyre + Now toe on her distaff then she can spynne + To byte and whyne + The world runs on wheeles + He would haue better bread than can be made of whea[t] + To take hart of grace + + <i>Folio 97, front</i>. + + Thear was no more water then the shipp drewe + A man must tell yow tales and find yow ears + Haruest ears (of a busy man). + When thrift is in the feeld he is in the Towne + That he wynnes in y'e hundreth he louseth in the Shyre + To stumble at a strawe and leap over a bloc + To stoppe two gappes with one bush + To doe more than the preest spake of on Sunday + To throwe the hatchet after the helve + Yow would be ouer the stile before yow come at it. + Asinus avis (a foolish conjecture). + Herculis Cothurnos aptare infantj + To putt a childes leg into Hercules buskin + Jupiter orbus + Tales of Jupiter dead withowt yssue + Juxta fluuium puteum fodere + To dig a well by the Ryuer side + A ring of Gold on a swynes snowte + To help the sunne with lantornes + In ostio formosus (gratiows to shew) + Myosobae flyflappers (offyciows fellowes) + [Greek: Adelphizein]. To brother it (fayre speech) + Jactare iugum To shake the yoke + When It was to salt to wash it with fresh water + (when speach groweth in bi ... to fynd taulke + more gratfull) + + <i>Folio 97, back</i>. + + Mira de lente + Quid ad farinas. + Quarta luna Natj (Hercules nativity). + Olle amicitia. + Venus font. + Utraque nutans sententia + Hasta caduceum + The two that went to a feast both at dyner and + supper neyther knowne, the one a tall the other + a short man and said they would be one + anothers shadowe. It was replied it fell owt fitt, + for at noone the short man mowght be the long + mans shadowe and at night the contrary. + A sweet dampe (a dislike of moist perfume). + Wyld tyme on the grownd hath a sent like a Cypresse chest. + Panis lapidosus grytty bread + Plutoes Helmett; secrecy Invisibility + Laconismus + Omnem vocem mittere (from inchantmentes) + Tertium caput; (of one ouercharged that hath a burden + upon eyther showder and the 3rd. vpon his head). + Triceps mercurius (great cunyng). + Creta notare (chaulking and colouring). + + <i>Folio 98, front</i>. + + Vt phidie signum (presently allowed). + Jovis sandalium; (Jupiters slipper, a man onely + esteemed for nearnesse). + Pennas nido majore extendere. + Hic Rhodus Hic Saltus (exacting demonstracion). + Atticus in portum + Divinum excipio sermonem + Agamemnonis hostia + With sailes and owres + To way ancre. + To keep strooke (fitt conjunctes). + To myngle heauen and earth together. + To stirr his curteynes (to raise his wyttes and sprites). + Comovere sacra + To iudg the Corne by the strawe. + Domj Conjecturam facere [Greek: oikothen eikax[ein]] + To divine with a sive (?) + Mortuus per somnum vacabis curis (of one that + interpretes all thinges to the best). + Nil sacrj es (Hercules to adonis). + Plumbeo iugulare gladio (A tame argument). + Locrensis bos (a mean present). + Ollaris Deus. (a man respected for his profession + withowt woorth in himself). + In foribus Vrceus; an earthen pott in the threshold + Numerus + + <i>Folio 98, back</i>. + + To drawe of the dregges + Lightenyng owt of a payle + Durt tramped w'th bloude. + Ni pater esses + Vates secum auferat omen. + In eo ipso stas lapide vbj praeco praedicat, of one that + is abowt to be bowght and sold. + Lydus ostium claudit (of one that is gone away w'th + his purpose). + Vtranque paginam facit An auditors booke (of one + to whome both good and yll is imputed). + Non navigas noctu (of one that govern[s] himself + acaso [bycause] the starres which were wont to + be the shipmans direction appear but in the + night). + It smelleth of the lampe + You are in the same shippe + Between the hamer and the Andville + Res est in cardine + Vndarum in vinis + Lepus pro carnibus (of a man persecuted for profite + and not for malice). + Corpore effugere + Nunquid es saul inter prophetas + A dog in the manger + [Greek: Oaekonous] (a howsedowe a dedman). + + <i>Folio 99, front</i>. + + Officere luminibus + I may be in their light but not in their way. + Felicibus sunt et timestres liberj. + To stumble at the threshold + Aquilae senectus + Of the age now they make popes of + Nil ad Parmenonis suem + Aquila in nubibus (a thing excellent but remote). + Mox Sciemus melius vate + In omni fabula et Daedali execratio (of one made a + party to all complaintes). + Semper tibj pendeat hamus. + Res redit ad triarios. + Tentantes ad trojam pervenere greci + Cignea cantio + To mowe mosse (vnseasonable taking of vse or + profite). + Ex tripode + Ominabitur aliquis te conspecto. + He came of an egge + Leporem comedit + + <i>Folio 99, back</i>. + + H [Greek: Ae tan ae epi tun] + Dormientis rete trahit + Vita doliaris + He castes another mans chaunces. + I neuer liked proceeding vpon Articles before bookes + nor betrothinges before mariages. + Lupus circa puteum chorum agit + The woolue danceth about the welle. + Spem pretio emere + Agricola semper in nouum annam diues. + To lean to a staffe of reed + fuimus Troes. + Ad vinum disertj. + To knytt a rope of sand. + Pedum visa est via + Panicus casus + Penelopes webb + [Greek: skiamachein] + To striue for an asses shade + Laborem serere. + Hylam inclamat. + [Greek: theomachein] + To plowe the wyndes + Actum agere + Versuram soluere To euade by a greater mischeef. + Bulbos querit (of those that looke downe + Between the mowth and the morsell). + A Buskin (that will serve both legges + not an indifferent man but a dowble spye). + + <i>Folio 100, front</i>. + + Chameleon Proteus, Euripus. + Mu[l]ta novit uulpes sed Echinus unum magnum + Semper Africa aliquid monstrj parit + Ex eodem ore calidum et frigidum. + Ex se finxit velut araneus + Laqueus laqueum cepit. + Hinc ille lachrime; Hydrus in dolio + Dicas tria ex Curia (liberty vpon dispaire) + Argi Collis (a place of robbing). + Older then Chaos. + Samiorum flores + A bride groomes life + Samius comatus (of one of no expectacion and great + proof). + Adonis gardens (thinges of great pleasure but soone + fading). + Que sub axillis fiunt. + In crastinum seria. + To remooue an old tree + [Greek: Kymakophon] (of one that fretteth and vaunteth + boldnesse to vtter choler). + To bite the br[i]dle + Lesbia regula. + Vnguis in vlcere + To feed vpon musterd + In antro trophonij (of one that neuer laugheth). + Arctum annulum ne gestato. + + <i>Folio 100, back</i>. + + Areopagita; Scytala. + Cor ne edito. + Cream of Nectar + Promus magis quam Condus. + He maketh to deep a furrowe + Charons fares + Amazonum cantile[n]a; The Amazons song + (Delicate persons). + To sow curses. + To quench fyre with oyle + Ex ipso boue lora sumere. + Mala attrahens ad se vt Cesias nubes + Pryauste gaudes gaudium. + Bellerophontis literae (producing lettres or evidence + against a mans self). + Puer glaciem. + To hold a woolf by the ears + fontibus apros, floribus austrum + Softer then the lippe of the ear + More tractable then wax + Aurem vellere. + [Greek: Aeeritrimma]; frippon + To picke owt the Ravens eyes. + Centones + Improbitas musce (an importune that wilbe soone + awnswered but straght in hand agayne). + Argentangina, sylver mumpes + Lupi illum videre priores + Dorica musa. + To looke a gyven horse in the mowth. + + <i>Folio 101, front</i>. + + Vlysses pannos exuit. + fatis imputandum + Lychnobij + Terrae filius + Hoc jam et vates sciunt + Whear hartes cast their hornes + few dead byrdes fownd. + Prouolvitur ad milvios (a sickly man gladd of the + spring). + Amnestia + Odi memorem compotorem. + Delius natator. + Numeris platonis obscurius + Dauus sum non Oedipus + Infixo aculeo fugere + Genuino mordere. + Ansam quaerere. + Que sunt apud inferos sermones. + Et Scellij filium abominor (of him that cannot + endure the sound of a matter; from Aristocrates + Scellius sonne, whome a man deuoted to a + democracy said he could not abide for the + nearnesse of his name to an Aristocracy). + Water from the handes (such doctrynes as are + polluted by custome). + + <i>Folio 101, back</i>. + + famis campus an yll horse kept + The thredd is sponne now nedes the neadle + quadratus homo. a Cube. + fenum habet in Cornu. + Armed intreaty. + Omnia secunda saltat senex. + [Greek: theon cheires] + Mopso Nisa datur + Dedecus publicum. + Riper then a mulbery. + Tanquam de Narthecio + Satis quercus; Enowgh of Acornes. + Haile of perle. + Intus canere. + Symonidis Cantilena. + Viam qui nescit ad mare + Alter Janus. + To swyme withowt a barke + An owles egg. + Shake another tree + E terra spectare naufragia + In diem vivere + Vno die consenescere. + [Greek: Porro dios te K[a]i keraunou] + Servire scenae. + Omnium horarum homo + Spartae servi maxime servi + Non sum ex istis heriobus (<i>sic</i>) (potentes ad + nocendum) + + <i>Folio 101, back—continued</i>. + + Scopae dissolute + Clavum clauo pellere + Extra querere sese + + <i>Folio 102, front</i>. + + Cumjnj sector + Laconice lunae. + Coruus aquat. + Ne incalceatus in montes. + Domj Milesia + Sacra hec non aliter constant. + Gallus insistit + Leonis vestigia quaeris (ostentation with couardize) + fumos vendere + Epiphillides. + Calidum mendacium optimum + Solus Currens vincit. + Vulcaneum vinclum. + Salt to water (whence it came). + Canis seviens in lapidem + Aratro iacularj. + Semel rubidus decies pallidus. + Tanto buon che ual niente + So good, as he is good for nothing. + The crowe of the bellfry. + The vinegar of sweet wyne. + En vne nuit naist vn champignon. + He hath more to doe then the ovens in Christmas. + piu doppio ch' una zevola + Il cuopre vn altare & discuopre l' altro + He will hide himself in a mowne medowe + Il se crede segnar & se da de dettj ne gli occhi + He thinkes to blesse himself and thrustes his fingers into his eyes + + <i>Folio 102, back</i>. + + He is gone like a fay withowt his head + La sopra scritta e buona + La pazzia li fa andare | + La vergogna li fa restare | + Mangia santj & caga Diauolj. + Testa digiuna, barba pasciuta. + L'asne qui porte le vin et boit l'eau + lyke an ancher that is euer in the water and will + neuer learn to swyme + He doth like the ape that the higher he clymbes the + more he shews his ars. + Se no va el otero a Mahoma vaya Mahoma al otero. + Nadar y nadar y ahogar a la orilla + llorar duelos agenos + Si vos sabes mucho tambien se yo mi salm [o?] + Por hazer mi miel comieron mj muxcas + Come suol d'Invierno quien sale tarde y pone presto. + Lo que con el ojo veo con el dedo lo adeuino + Hijo no tenemos y nombre lo ponemos. + Por el buena mesa y mal testamento. + Era mejor lamiendo que no mordiendo + Perro del hortelano + Despues d'yo muerto ni vinna ni huerto + Perdj mj honor hablando mal y oyendo peor + Tomar asino que me lleue y no cauallo que me derruque. + + <i>Folio 103, front</i>. + + So many heades so many wittes + Happy man happy dole + In space cometh grace + Nothing is impossible to a willing hand + Of two ylles chuze the lest. + Better to bow then to breake + Of suffrance cometh ease + Two eyes are better then one. + Leaue is light + Better vnborn then vntaught. + All is well that endes well + Of a good begynyng comes a good ending + Thinges doone cannot be vndoone + Pride will haue a fall + Some what is better then nothing + Better be envyed then pytied + Every man after his fashon + He may doe much yll ere he doe much woorse + We be but where we were + Vse maketh mastery + Loue me lyttell love me long. + They that are bownd must obey + Foly it is to spurn against the pricke + Better sitt still then rise and fall. + Might overcomes right + No smoke w'th owt some fire + Tyme tryeth troth + Make not to sorowes of one + + <i>Folio 103, back</i>. + + Thear is no good accord + whear euery one would be a lord + Saieng and doing are two thinges + Better be happy then wise + Who can hold that will away + Allwaies let leasers haue their woordes + Warned and half armed + He that hath an yll name is half hanged + Frenzy Heresy and jalousy are three + That seeldome or neuer cured be + That the ey seeth not the hart rueth not + Better comyng to the ending of a feast then to the + begynyng of a fray + Yll putting a swoord in a mad mans hand + He goes farre that neuer turneth + Principium dimidium totius + Quot homines tot sententiae + Suum cujque pulchrum. + Que supra nos nihil ad nos + Ama tanquam osurus oderis tanquam amaturus. + Amicorum omnia communia + Vultu sepe leditur pietas + Fortes fortuna adjuuat. + Omne tulit punctum. + In magnis et uoluisse sat est + Difficilia quoee pulchra. + Turn tua res agitur paries cum proximus ardet + Et post malam segetem serendum est + Omnium rerum vicissitudo + + <i>Folio 103 back—continued</i>. + + In nil sapiendo vita jucundissima + Parturiunt montes nascetur ridiculus mus + Dulce bellum inexpertis + Naturam expellas furca licet vsque recurret. + + <i>Folio 104, front</i>. + + Quo semel est imbuta recens servabit odorem + Bis dat qui cito dat + Consciencia mille testes + In vino veritas + Bonae leges ex malis moribus + Nequicquam sapit qui sibj non sapit + Summum jus summa injuria + Sera in fundo parsimonia + Optimum non nasci + Musa mihi causas memora + Longe + Ambages sed summa sequar fastigia rerum + Causasque innecte morandj + Incipit effari mediaque in voce resistit + Sensit enim simulata voce locutam + quae prima exordia sumat + Haec alternantj potior sententia visa est. + Et inextricabilis error + Obscuris vera inuolvens. + Hae tibi erunt artes + Sic genus amborum scindit se sanguine ab vno. + Varioque viam sermone leuabat + Quid causas petis ex alto fiducia cessit + Quo tibj Diua mej + Causas nequicquam nectis inanes + quid me alta silentia cogis + Rumpere et obductum verbis vulgare dolorem + Nequicquam patrias tentasti lubricus artes + Do quod uis et me victusque uolensque remitto + + <i>Folio 104, front—continued</i>. + + Sed scelus hoc meritj pondus et instar habet + Quaeque prior nobis intulit ipse ferat + Officium fecere pium sed invtile nobis + Exiguum sed plus quam nihil illud erit + Sed lateant vires nec sis in fronte disertus + Sit tibj credibilis sermo consuetaque verba + praesens vt videare loqui + + <i>Folio 104, back</i>. + + Ille referre aliter sepe solebat idem + Nec uultu destrue verba tuo + Nec sua vesanus scripta poeta legat + Ars casum simulet + Quid cum legitima fraudatur litera uoce + Blaesaque fit iusso lingua coacta sono + Sed quae non prosunt singula multa iuuant. + Sic parvis componere magna solebam + Alternis dicetis + paulo majora canamus + Non omnes arbusta iuuant + Et argutos inter strepere anser olores. + Causando nostros in longum ducis amores + Nec tibj tam sapiens quisquam persuadeat autor + Nec sum animj dubius verbis ea vincere magnum + quam sit et angustis hunc addere rebus honorem + Sic placet an melius quis habet suadere + Quamquam ridentem dicere verum + quis vetat + Sed tamen amoto quaeramus seria ludo + Posthabuj tamen illorum mea seria ludo + O imitatores seruum pecus + Quam temere in nobis legem sancimus iniquam. + mores sensusque repugnant + Atque ipsa vtilitas justj prope mater et equi + dummodo visum + Excutiat sibj non hic cuiquam parcit amico + Nescio quod meritum nugarum totus in illis + Num[22] quid vis occupo + + <i>Folio 104, back—continued</i>. + + Noris nos inquit doctj sumus + O te bollane cerebrj + Felicem aiebam tacitus. + + <i>Folio 105, front</i>. + + ridiculum acrj + Fortius et melius magnas plerunque secat res. + At magnum fecit quod verbis graeca latinis ] + Miscuit o serj studiorum ] + Nil ligat exemplum litem quod lite resoluit + Nimirum insanus paucis videatur eo quod ] + Maxima pars hominum morbo laborat eodem ] + Neu si vafer vnus et alter + Insidiatorem praeroso fugerit hamo + Aut spem deponas aut artem illusus omittas + gaudent praenomine molles ] + auriculae ] + Renuis tu quod jubet alter + Qui variare cupit rem prodigaliter unam. + Et adhuc sub judice lis est. + Proijcit ampullas et sesquipedalia verba + Quid dignum tanto feret hic promissor hiatu + Atque ita mentitur sic veris falsa remittet + tantum series juncturaque pollet + Tantum de medio sumptis accedit honoris + Ergo fungar vice cotis acutum ] + Reddere que possit ferrum exors ipsa secandj ] + Haec placuit semel haec decies repetita placebit + Fas est et ab hoste docerj + Vsque adeo quod tangit idem est tamen vltima + Quis furor auditos inquit praeponere visis [distans]. + Pro munere poscimus vsum + Inde retro redeunt idemque retexitur ordo + Nil tam bonum est quin male narrando possit + deprauarier + + <i>Folio 105, back</i>. + + Furor arma ministrat + Pulchrumque morj succurrit in armis + Aspirat primo fortuna laborj + Facilis jactura sepulchrj + Cedamus phoebo et monitj meliora sequamu[r] + Fata uiam invenient + Degeneres animos timor arguit + Viresque acquirit eundo + Et caput inter nubila condit + Et magnas territat vrbes + Tam ficti prauique tenax quam nuntia verj + Gaudens et pariter facta atque infecta canebat + Nusquam tuta fides + Et oblitos famae meliori amantes + Varium et mutabile semper + Femina + Furens quid femina possit + Quo fata trahunt retrahuntque sequamur + Quicquid id est superanda est omnis fortun[a] ferendo + Tu ne cede malis sed contra audentior i[to] + Hoc opus hic labor est + Nullj fas casto sceleratum insistere li[men] + Discite justitiam monitj. + Quisque suos patimur manes + Neu patrie validat[23] in viscera vertite vires + Verique effeta senectus. + At patiens operum paruoque assueta iuuen[tus] + Juno vires animumque ministrat + Nescia mens hominum fatj sortisque futur[ae] + Et servare modum rebus sublata secund[is] + + <i>Folio 106, front</i>. + + Spes sibi quisque + Nee te vllius violentia vincat + Respice res hello varias + Credidimus lachrimis an et hae simulare docentur + He quoque habent artes quaque iubentur eunt + Quaecunque ex merito spes venit equa venit + Simplicitas digna fauore fuit + Exitus acta probat careat successibus opto + Quisquis ab euentu facta notanda putet. + Ars fit vbj a teneris crimen condiscitur annis + Jupiter esse pium statuit quodcunque iunaret + Non honor est sed onus + Si qua voles apte nubere nube parj + Perdere posse sat est si quern iuuat ista potestas. + Terror in his ipso major solet esse periclo + Quaeque timere libet pertimuisse pudet + An nescis longas regibus esse manus + Vtilis interdum est ipsis injuria passis + Fallitur augurio spes bona sepe suo + Quae fecisse iuuat facta referre pudet + Consilium prudensque animj sententia jurat + Et nisi judicij vincula nulla valent + Sin abeunt studia in mores + Illa verecundis lux est praebenda puellis + Qua timidus latebras speret habere pudor + Casta est quam nemo rogauit + Quj non vult fierj desidiosus amet + Gratia pro rebus merito debetur inemptis + Quern metuit quisque perisse cupit + + <i>Folio 106, back</i>. + + A late promus of formularies + and elegancies + + Synanthr + Synanthropy + + <i>Folio 107, front</i>. + + He that owt leaps his strength standeth not + He keeps his grownd; Of one that speaketh certenly + & pertinently + He lighteth well; of one that concludeth his speach + well + Of speaches digressive; This goeth not to the ende + of the matter; from the lawyers, + for learnyng sake. + + Mot. of the mynd explicat in woords implicat in + thowghts + I iudg best implicat in thowg. or of trial or mark + bycause of swiftnes collocat. & differe & to + make woords sequac. + + <i>Folio 107, back</i>. + + [Blank] + + <i>Folio 108, front</i>. + + Vpon Impatience of Audience + Verbera sed audi. The fable of the syrenes + Auribus mederj difficillimum. Placidasque viri deus obstruit + Noluit Intelligerevt bene aures + ageret + The ey is the gate of the + affection, but the ear + of the vnderstanding + + Vpon question to reward evill w'th evill + Noli aemularj in malig- Cum perverso perverteris; + nantibus lex talionis + Crowne him wth tols (?) Yow are not for this world + Nil malo quam illos simil- Tanto buon cheval niente + les esse suj et me mej + + Vpon question whether a man should speak or + forbear speach + + Quia tacuj inveterauerunt Obmutuj et non aperuj os + ossa mea (speach may meum quoniam tu fecistj + now & then breed It is goddes doing. + smart in y'e flesh; but Posuj custodiam Orj + keeping it in goeth to meo cum consisteret + y'e bone). peccator aduersum me. + Credidi propter quod Ego autem tanquam + locutus sum. surdus nonaudiebam et + Obmutuj et humiliatus tanquam mutus non + sum siluj etaim a bonis aperiens os suum + et dolor meus re- + nouatus est. + + <i>Folio 108, back</i>. + + Benedictions and maledictions + Et folium eius non defluet + Mella fluant illj ferat + et rubus asper amonium + Abominacion + + Dij meliora pijs + Horresco referens + + <i>Folio 109, front</i>. + + Per otium To any thing impertinent. + Speech yt hangeth not together nor is concludent. + Raw sylk; sand. + Speech of good & various wayght but not neerely + applied; A great vessell yt cannot come neer + land. + Of one yt. rippeth things vp deepely. He shooteth + to high a compass to shoote neere. + Y'e law at Twicknam for mery tales + Synanthropie + + <i>Folio 109, back</i>. + + [Blank] + + <i>Folio 109c, front</i>. + + [Blank] + + <i>Folio 109d, back</i>. + Synanthropie + + <i>Folio 110, front</i>. + + Play. + + The syn against y'e holy ghost termd in zeal by one + of y'e fathers + Cause of Oths; Quarells; expence & vnthriftynes; + ydlenes & indisposition of y'e mynd to labors. + Art of forgetting; cause of society acquaintance + familiarity in frends; neere & ready attendance + in servants; recreation & putting of melancholy; + Putting of malas curas & cupiditates. + Games of Actiuity & passetyme; <i>sleight</i> of Act. of + strength quicknes; quick of y'e hand; legg, the + whole mocion; strength of arme; legge; <i>Of + Activity of sleight</i>. + Of passetyme onely; of hazard, of play mixt + Of hazard; meere hazard Cunnyng in making yor. + game; Of playe: exercise of attention; + of memory; of Dissimulacion; of discrecion; + Of many hands or of receyt; of few; of quick + returne tedious; of praesent iudgment; of + vncerten yssue. + Seuerall playes or Ideas of play. + Frank play; wary play, venturous not venturous + quick slowe; + Oversight Dotage Betts Lookers on Judgment + groome porter; Christmas; Invention for hunger + Oddes; stake; sett; + He that folowes his losses & giueth soone over at + wynnings will never gayne by play + Ludimus incauti studioque aperimur ab ipso + + <i>Folio 110, front—continued</i>. + + He that playeth not the begynnyng of a game well at + tick tack & y'e later end at yrish shall never + wynne + Frier Gilbert + Y'e lott; earnest in old tyme sport now as musik + owt of church to chamber + + <i>Folio 110, back</i>. + + [Blank] + + <i>Folio 111</i>. + + [Blank] + + <i>Folio 112, front</i>. + + good morow + Good swear[24] + Good trauaile + good hast + good matens + good betymes; bonum mane + bon iouyr. Bon iour; (bridgrome). + good day to me & good morow to yow. + I haue not sayd all my prayers till I haue bid yow + good morow. + Late rysing fynding a bedde, + early risinge, summons to ryse + Diluculo surgere saluberrimum est. + Surge puer mane sed noli surgere vane. + Yow will not rise afore yor betters + (y'e sonne). + Por mucho madrugar no amanece mas ayna. + Qui a bon voisin a bon matin + (lodged next); + Stulte quid est somnus gelidae nisi mortis imago + Longa quiescendi tempora fata dabunt. + Albada; golden sleepe. + early vp & neuer y'e neere. + The wings of y'e mornyng. + The yowth & spring of y'e day + The Cock; The Larke. + Cowrt howres. + + <i>Folio 112, front—continued</i>. + + Constant; abedd when yow are bedd; & vp when + yow are vp. + Trew mens howres. + Is this your first flight x I doe not as byrds doe for + I fly owt of my feathersz Is it not a fayre one + Sweet, fresh of y'e mornyng. + I pray god your early rysing doe yow no hurt; + Amen when I vse it. + I cannot be ydle vp as yow canne. + Yow could not sleep for your yll lodging; I cannot + gett owt of my good lodginge. + Yow have an alarum in your head + Block heads & clock heads. + There is Law against lyers a bedde. + Yow haue no warrant to ly a bedde + Synce yow are not gott vp turn vp. + Hott cocckles withowt sands + + god night + Well to forgett; + I wish yow may so well sleepe as yow may not fynd + yor yll lodging. + + NOTE.—This folio is written in two columns. The second + column begins with the line, "I pray god your early rysing." + +</pre> + <hr /> +<pre xml:space="preserve"> + <i>Folio 112, back</i>. + + [Blank] + + <i>Folio 113, front</i>. + + [Blank] + + <i>Folio 113, back</i>. + + fourmes & elegancyes. + + <i>Folio 114, front</i>. + + <i>Formularies Promus 27 Jan. 1595</i>. + + Against con-] Es. conceyt of // + ceyt of diffi-]Tentantes ad Trojam peruenere Impossibili- // + culty or im-] ties & Ima- // + possibility ginations // + vt s[upra] ad id + Ess. indear- // + Abstinence]Qui in agone contendit a multis ing generali-// + negatiues ] abstinet. ties & prae- // + cepts // + vt s[upra] All the commaundments nega ad id + tiue saue two ad id // + + Parerga; mouente sed nil pro- ad id. and + Curious; Busy extenuating // + without jug mouentes operosities, nil ad deuises & // + ment good summam. particulars. + direction Claudus I via ad id. + vt s[upra] + [25]Direction]to give the grownd in bowling. // + generall. ] + vt sup[ra] Like tempring with phisike a ad id. // + good diett much better. + + Zeal affection]Omni possum in eo qui me Idea. zeal + alacrity ] confortat & good affec-// + tion ye e. // + + vt s[upra] Possunt quia posse videntur ad id. + vt s[upra] Exposition of Not Overweenning + but ouerwilling. ad id. // + vt s[upra] Goddes presse; Voluntaries ad id. // + detraction Chesters wytt to depraue & + otherwise not wyse [26]s. P. s. J.// + + Hast In actions as in wayes the nearest Ind my stay// + ikpatience y'e fowlest + +</pre> + <hr /> +<pre xml:space="preserve"> + <i>Folio 114, back</i>. + + [Blank] + + <i>Folio 115, front</i>. + + [Blank] + + <i>Folio 115, back</i>. + ffrancys Dalle + fragments of Elegancyes + + <i>Folio 116, front</i>. + + //Quod adulationis nomine dicitur bonum quod + // obtrectationis malum. + Cujus contrarium majus; majus aut priuatio cujus + minus animis.# + //Cujus opus et uirtus majus majus cujus minus minus + //quorum cupiditates majores aut meliores, + //quorum scientiae aut artes honestiores. + //quod uir melior eligeret vt injuriam potius pati + // quam facere. + //quod manet melius quam quod transit. + //quorum quis autor cupit esse bonum, cujus horret + // malum. + //quod quis amico cupit facere bonum quod inimico + // malum. + //Diuturniora minus diuturnis + Conjugata + //quod plures eligunt potius quam quod pauciores. + //quod controuertentes dicunt bonum perinde ac omnes + quod scientes et potentes, quod judicantes. + //Quorum praemia majora, majora bona, quorum + mulctae majores, majora mala. + Quas confessis et tertijs majoribus majora. + //quod ex multis constat magis bonum cum multi + // articulj bonj dissectj magnitudinem prae se ferunt + Natiua ascitis. + //Qua supra aetatem praeter occasionem aut oportuni- + // tate praeter naturam toe; praeter conditionem + // temporis praeter naturam personae vel instru- + // mentivel iuuamentimajora quam quae secundum. + + <i>Folio, 116 back</i>. + + //quae in grauiore tempore vtilia vt in morbo senectute + // aut aduersis. + //Ex duobus medijs quod propinquius est fruj + //Quae tempore futuro et vltimo quia sequens tempus + // evacuat praeterita + Antiqua novis noua antiquis + Consueta nouis noua consuetis + //quod ad veritatem magis quam ad opinionem Ejus + // [27]ante, quae ad opinionem pertinet, ratio est ac + // modus, quod quis sj clam fore putaret non + // eligeret + //Polychreston vt diuitiae, robur, potentia, facultates + // animj + # Ex duobus quod tertio aequali adjunctum majus ipsa[2] + reddit + # Quae non latent cum adsunt, quam quae latere + possunt majora. + //quod magis ex necessitate vt oculus vnus lusco + //quod expertus facile reliquit + //quod quis cogitur facere malum + //quod sponte fit bonum + //quod bono confesso redimitur + +</pre> + <hr /> +<pre xml:space="preserve"> + <i>Folio 117, front</i> + + In deliberatives and electives + + <i>Folio 117, back</i>. + + Cujus excusatio paratior est vel venia indulta inagis + minus malum. + + <i>Folio 118, front</i>. + + Melior est oculorum visio quam animj progressio + //Spes in dolio remansit sed non vt antedotum sed vt + // major morbus + Spes omnis in futuram vitam consumendus sufficit + praesentibus bonis purus sensus. + Spes vigilantis somnium; vitae summa breuis spem + nos uetat inchoare longam. + //Spes facit animos leues timidos inaequales + peregrinantes + //Vidi ambulantes sub sole cum adolescente secundo + // qui consurget post eum. + //Imaginationes omnia turbant, timores multiplicant + // voluptates corrumpunt. + //Anticipatio timores[28]salubris ob inventionem remedij + // spei institit[29] + Imminent futuro, ingrati in praeteritum semper + adolescentes + //Vitam sua sponte fluxam magis fluxam reddimus + per continuationes spe + Praesentia erunt futura non contra + +</pre> + <hr /> +<pre xml:space="preserve"> + <i>Folio 118, back</i>. + + [Blank] + + <i>Folio 119, front</i>. + + [Blank] + + <i>Folio 119, back</i>. + + [Blank] + + <i>Folio 120, front</i>. + + The fallaxes of y'e 3 and y'e assurance of Erophil. + to fall well euery waye + Watry impressions, fier elementall fier aethereall. + Y'e memory of that is past cannot be taken from him. + All 3 in purchaze nothing in injoyeng. + + <i>Folio 120, back</i>. + + [Blank] + + <i>Folio 121, front</i>. + + [Blank] + + <i>Folio 121, back</i>. + + [Blank] + + <i>Folio 122, front</i>. + + // Quod inimicis nostris gratum est ac optabile vt + // <i>nobis</i> eveniat malum, quod molestiae et terrorj + // est bonum. + Metuo danaos et dona ferentes + Hoc Ithacus velit et magno mercentur Atridae. + Both parties haue wyshed battaile + The Launching of y'e. Imposture by him that + intended murder. + Conciliam homines mala. a forein warre to appeas + parties at home + // Quod quis sibj tribuit et sumit bonum, quod in + // alium transfert malum + non tarn inuidiae impertiendae quam laudis com- + municandae gratia loquor. + // Quod quis facile impertit minus bonum quod quis + // paucis et grauatim impertit majus bonum + Te nunc habet ista secundum. + // Quod per ostentationem fertur bonum, quod per + // excusationem purgatur malum. + // Nescio quid peccati portet haec purgatio. + // Cuj sectae diuersae quae sibj quaeque praestantiam + // vendicat secundas tribuit melior singulis + // Secta Academicae quam Epicureus et stoicus sibi + // tantum postponit + // Neutrality. + + <i>Folio 122, back</i>. + + //Cujus exuperantia vel excellentia melior ejus et + // genus melius. + Bougeon de mars, enfant de paris. + Whear they take + Some thinges of lyttell valew but excellencye + Some more indifferent and after one sort. + //In quo periculosius erratur melius eo in quo erratur + // minore cum periculo. + //Quod rem integram seruat, melius eo a quo receptus + // non est potestatem enim donat potestas autem + // bonum + The tale of the frogges that were wyshed by one in + a drowth to repayre to the bottome of a well, + ay (?) but if water faile thear how shall we gett + vp agayne + //Quod polychrestum est melius quam quod ad vnum + // refertur ob incertos casus humanos. + //Cujus contrarium priuatio malum bonum cujus + // bonum malum. + //In quo non est satietas neque nimium melius eo in + // quo satietas est + //In quo vix erratur melius eo in quo error procliuis + //Finis melior ijs quae ad finem; + //Cujus causa sumptus facti et labores toleratj + // bonum; si vt euitetur malum, + //Quod habet riuales et de quo homines contendunt + // bonum; de quo non est contentio malum. + Differ, inter fruj et acquirere. + + <i>Folio 123, front</i>. + + // Quod laudatur et praedicatur bonum quod occultatur + // et uituperatur malum. + // Quod etiam inimicj et maleuoli laudant valde bonum, + // quod etiam amicj reprehendunt magnum malum. + Quod consulto et per meliora judicia proponitur + majus bonum. + // Quod sine mixtura malj melius quam quod refractum + // et non syncerum. + Possibile et facile bonum quod sine labore et paruo + tempore cont[ra] malum + Bona confessa jucundum sensu; comparatione. + Honor; voluptas; + Vita + bona ualetudo + suauia objecta sensuum; + Inducunt tranquillum sensum virtutes ob securitatem + et contemptum rerum humanarum; facultates + animk et rerum gerendarum ob spem et metum + subigendum; et diuiti ... + Ex aliena opinione; laus. + Quae propria sunt et minus communicata; ob honor, + quae continent, vt animalia vt plantae et amplius; + sed id amplius potest esse malj. + Congruentia, ob raritatem et genium et proprietatem + vt in familijs et professionibus + Quae sibj deesse quis putat licet sint exigua + + <i>Folio 123, back</i>. + + ad quae natura procliues sunt + quae nemo abjectus capax est vt faciat + Majus et continens minore et contento + Ipsum quod suj causa eligitur + quod omnia appetunt. + quod prudentiam adepti eligunt + quod efficiendi et custodiendj vim habet. + Cuj res bonae sunt consequentes. + maximum maximo ipsum ipsis; vnde exuperant ... + quae majoris bonj conficientia sunt ea majora sunt + bona. + quod propter se expetendum eo quod propter alios + Fall. in diuersis generibus et proportionibus + Finis non finis + Minus indigens eo quod magis indiget quod + paucioribus et facilioribus indiget + quoties ho (<i>sic</i>) sine illo fierj no (<i>sic</i>) potest, illud + sine hoc fierj potest illud melius + principium non principio; finis autem et principium + antitheta; non majus videtur principium quia + primum est in opere; contra finis quia primum + in mente; de perpetratore et consiliario. + Rarurn copiosis honores; mutton venison + Copiosum varit vsu: optimum aqua + difficiliora, facilioribus | + faciliora, difficilioribus | + + <i>Folio 124, front</i>. + + Quod magis a necessitate vt oculus vnus lusco. + Major videtur gradus priuationis quam diminutionis + Quae non latent cum adsunt majora quam que + latere possunt. + Quod expertus facile reliquit malum, quod mordicus + tenet bonum. + In aliquibus manetur quia non datur regressus + Quae in grauiore tempore vtilia vt in morbo + senectute aduersis. + The soldier like a coreselett; bellaria, et appetitiua, + redd hearing. Loue + Quod controuertentes dicunt bonum perinde ac + omnes. + Sermon frequented by papists and puritans; + Matter of circumstance not of substance + boriae penetrabile frigus adurit + Cacus oxen forwards and backwards + Not examyning. + + <i>Folio 124, back</i>. + + [Blank] + + <i>Folio 125, front</i>. + + [Blank] + + <i>Folio 125, back</i>. + + [Blank] + + <i>Folio 126, front</i>. + + <i>Analogia Caesaris</i> + + Verb. et clausalae ad + exercitationem accentus + et ad gratiam sparsam + et ad suitatem + + Sat that; (for admitt that) It is like Sr. etc. putting + Peradventure can yow: sp. a man agayne into his + (what can yow) tale interruted + So much there is. fr.(neuer- Your reason + thelesse) I haue been allwaies at + See then bow. Sp. (Much his request; + lesse) His knowledg lieth about + Yf yow be at leasure fur- him + nyshed etc. as perhappes Such thoughts I would + yow are (in stead of are exile into into my + not) dreames + For the rest (a transition A good crosse poynt but + concluding) the woorst cinq a pase + The rather bycause con- + tynuing anothers speach He will never doe his tricks + To the end, sauing that, + whereas yet (contynu- A proper young man and + ance) and so of all kynds so will he be while he liues + In contemplation (in con- 2 of these fowre take them + sideracon) where yow will + Not praejudicing. I have knowne the tyme + With this (cum hoc quod and it was not half an + verificare vult) howre agoe + Without that (adsque hoc Pyonner in the myne of + quod) truth + + <i>Folio 126, front—continued</i>. + + for this tyme (when a man As please the painter + extends his hope or imag- A nosce teipsum (a chiding + inacion or beleefe to farre) or disgrace) + A mery world when such Valew me not y'e lesse by- + fellowes must correct cause I am yours. + (A mery world when the + simplest may correct). + + Is it a small thing yt & (can + not yow not be content) + an hebraisme + What els? Nothing lesse. + It is not the first vntruth I + have heard reported nor + it is not y'e first truth I + haue heard denied. + I will prooue X + why goe and prooue it + Minerallwyttsstrongpoyson + yf they be not corrected. + O the' + O my I. St. + Beleeue it + Beleeue it not; + for a time + Mought it pleas god that + fr (I would to god) Neuer + may it please yow + As good as the best: + I would not but yow had + doone it (But shall I doe + it againe) + +</pre> + <hr /> +<pre xml:space="preserve"> + NOTE.—This folio is written in three columns. The third column begins, + "It is a small thing." + + <i>Folio 126, back</i>. + + The sonne of some what y'e ayre of his behauior; + factious; + To frime (to Sp)[30] + Sp + To cherish or endear; + To vndeceyue. Sp to dis- + abuse + deliuer and vnwrapped + To discount (To Cleere) + Brazed (impudent + Brawned Seared) vn- + payned. + Vuelight (Twylight) band- + ing (factions). + Remoouing (remuant) + A third person (a broker) + A nose Cutt of; tucked vp. + His disease hath certen + traces + To plaine him on + Ameled (fayned counterfett) + in y'e best kynd. + Having (?) the vpper + grownd (Awthority) + His resorts (his Conceyts) + It may be well last for it + hath lasted well + Those are great with yow + y't are great by yow + +</pre> + <hr /> +<pre xml:space="preserve"> + <i>Folio 126, back—continued</i>. + + The Avenues; A back + thought. + Baragan; perpetuo Juuenis + A Bonance (a Caulme) + To drench to potion (to + insert) + Haggard insauvaged + Infistuled (made hollow + with malign deales). + + <i>Folio 127, front</i>. + + [Blank] + + <i>Folio 127, back</i>. + + Cursitours lament and cry + [31]Verba interjectiua siue ad + gratiam sparsam + + <i>Folio 128, front</i>. + + Semblances or popularities of good and evill w'th + their redargutions for Deliberacions + Cujus contrarium malum bonum, cujus bonum + malum. + Non tenet in ijs rebus quarum vis in temperamento + et mensura sita est. + Dum vitant stulti vitia in contraria currunt + X Media via nulla est quae nee amicos parit nee inimi- + cos tollit + Solons law that in states every man should declare + him self of one faction. Neutralitye: + Vtinam esses calidus aut frigidus sed quoniam tepidus + es eveniet vt te expuam ex ore meo. + Dixerunt fatui medium tenuere beatj + Cujus origo occasio bona, bonum; cujus mala malum. + Non tenet in ijs malis quae vel mentem informant, + vel affectum corrigunt, siue resipiscentiam in- + ducendo siue necessitatem, nec etiam in fortuitis. + No man gathereth grapes of thornes nor figges of + thistelles + The nature of every thing is best consydered in the + seed + Primum mobile turnes about all y'e rest of y'e Orbes. + A good or yll foundacion. + X Ex malis moribus bonae leges. + [Greek: pathaemata maaemata] + When thinges are at the periode of yll they turn + agayne + + <i>Folio 128, front—continued</i>. + + Many effectes like the serpent that deuoureth her + moother so they destroy their first cause as + inopia luxuria etc. + The fashon of D. Hert. to the dames of Lond. Your + way is to be sicker + Usque adeo latet vtilitas + Aliquisque malo fuit vsus in illo + + <i>Folio 128, back</i>. + + Quod ad bonum finem dirigitur bonum, quod ad + mulum malum + + <i>Folio 129 front</i>. + + [Blank] + + <i>Folio 129 back</i>. + + Philologia + colors of good and euill + + <i>Folio 130 front</i>. + + Some choice Frensh Proverbes. + + II a chie en son chapeau et puis s'en va couvert + Par trop debatre la verite se perd. + Apres besogne fait le fou barguine. + L'hoste et le poisson passes trois jours puent. + Le mort n'ha point d'amis, Le malade et l'absent + qu'vn demye. + II est tost trompe qui mal ne pense. + La farine du diable s'en va moitie en son. + Qui prest a l'ami, perd an double. + C'est vn valett du diable, qui fait plus qu'on luy + command. + Il n'est horologe plus iust que le ventre. + Mere pitieuse, fille rigueuse + II commence bien a mourrir qui abandonne son desir. + Chien qui abaye de loin ne mord pas. + Achete maison faite, femme a faire + Le riche disne quand il veut, le poure quand il peut. + Bien part de sa place qui son amy y lesse. + Il n'y a melieur mirroir que le vieil amy. + Amour fait beaucoup, mais l'argent fait tout. + L'amour la tousse et la galle ne se peuvent celer. + Amour fait rage, mais l'argent fait marriage. + Ma chemise blanche, baise mon cul tous les + dimanches. + Mieux vaut vn tenes, que deux fois l'aurez. + Craindre ce qu'on peut vaincre, est vn bas courage. + A folle demande il ne faut point de responce. + + <i>Folio 130, front—continued</i>. + + Qui manie ses propres affaires, ne souille point se + mains. + Argent receu les bras rompus. + Vn amoreux fait touiours quelque chose folastre. + Le povre qui donne au riche demande + Six heures dort l'escholier, sept y'e voyager, huict y'e + vigneron, et neuf en demand le poltron. + La guerre fait les larrons et la paix les meine au + gibbett + Au prester couzin germaine, au rendre fils de putaine + Qui n'ha point du miel en sa cruche, qu'il en aye en + sa bouche. + Langage de Hauts bonnetts. + Les paroles du soir ne sembles a celles du matin. + Qui a bon voisin a bon matin. + Estre en la paille jusque an ventre. + Il faut prendre le temps comme il est, et les gens + comme ils sont. + Il n'est Tresor que de vivre a son aise. + La langue n'a point d'os, et casse poitrine et dos. + Quand la fille pese vn auque, ou luy peut mettre + la coque. + Il en tuera dix de la chandelle, et vingt du chandelier. + + <i>Folio 130, back</i>. + + Qui seme de Chardons recuielle des espines + Il n'est chasse que de vieux levriers. + Qui trop se haste en beau chemin se fourvoye. + Il ne choisit pas qui emprunt. + Ostez vn vilain an gibett, il vous y mettra. + Son habit feroit peur an voleur. + J'employerai verd et sec. + Tost attrappe est le souris, qui n'a pour tout qu'vn + pertuis. + Le froid est si apre, qu'il me fait battre le tambour + avec les dents. + Homme de deux visages, n'aggree en ville ny en + villages. + Perdre la volee pour le bound. + Homme roux et femme barbue de cinquante pas + les salue. + Quand beau vient sur beau il perd sa beaute. + Les biens de la fortune passe comme la lune. + Ville qui parle, femme qui escoute, I'vne se prend, + lautre se foute. + Coudre le peau du renard, a celle du lyon. + Il a la conscience large comme la manche d'vn + cordelier. + Brusler la chandelle par les deux bouts. + Bon bastard c'est d'avanture, meschant c'est la + nature. + Argent content portent medecine. + Bonne renommee vaut plus que cincture doree. + + <i>Folio 130, back—continued</i>. + + Fille qui prend, se vend; fille qui donne s'abban- + donne. + Fais ce que tu dois, avien que pourra. + Il est tost deceu qui mal ne pense. + Vos finesses sont cousues de fil blanc, elles sont trop + apparentes. + Assez demand qui se plaint. + Assez demand qui bien sert. + Il ne demeure pas trop qui vient a la fin. + Secrett de dieux, secrett de dieux + Ton fils repeu et mal vestu, ta fille vestue et mal + repue. + Du dire an fait il y a vn grand trait. + Courtesye tardive est discourtesye. + Femme se plaint, femme se deult, femme est + malade quand elle veut— + Et par Madame Ste. Marie, quand elle veut, elle est + guerrye. + Quie est loin du plat, est prez de son dommage. + Le Diable estoit alors en son grammaire. + Il a vn quartier de la lune en sa teste. + Homme de paille vaut vne femme d'or. + Amour de femme, feu d'estoupe. + Fille brunette gaye et nette + Renard qui dort la mattinee, n'a pas la langue + emplumee. + + <i>Folio 131, front</i>. + + Tout est perdu qu'on donne au fol. + Bonnes paroles n'escorche pas la langue. + Pour durer il faut endurer + Qui veut prendre vn oiseau, qu'il ne l'effarouche. + Soleil qui luise au matin, femme qui parle latin, + enfant nourri du vin ne vient point a bonne fin. + Il peut hardiment heurter a la porte, qui bonnes + novelles apporte. + A bon entendeur ne faut que demy mot. + Qui fol envoye fol attend. + La faim chaisse le loup hors du bois. + Qui pen se prize, Dieu l'advise. + En pont, en planche, en riviere, valett devant, + maistre arriere. + L'oeil du maistre engraisse le chevall. + Qui mal entend, mal respond. + Mal pense qui ne repense. + Mal fait qui ne pairfait. + Si tous les fols portoient marrottes, on ne scauroit + pas de quell bois se chaufer + Mieux vaut en paix vn oeuf, qu'en guerre vn boeuf. + Couper l'herbe sous les pieds. + Toutes les heures ne sont pas meures. + Qui vit a compte, vit a honte. + Meschante parole jettee, va par toute alia volee. + Amour se nourrit de ieune chaire + Innocence porte avec soy sa deffence. + Il ne regard plus loin que le bout de son nez. + A paroles lourdes, aureilles sourdes. + + <i>Folio 131, front—continued</i> + + Ce n'est pas Evangile, qu'on dit parmi la ville. + Qui n'a patience n'a rien. + De mauvais payeur, foin ou paille + En fin les renards se troue chez le pelletier. + Qui prest a l'ami perd an double + Chantez a l'asne il vous fera de petz + Mieux vault glisser du pied, que de la langue. + Tout vient a point a chi peut attendre. + Il n'est pas si fol qu'il en porte l'habit. + Il est plus fol, qui a fol sens demand. + Nul n'a trop de sens, n'y d'argent. + En seurte dort qui n'a que perdre. + Le trou trop overt sous le nez fait porter soulier + dechirez. + A laver la teste d'vn Asne, on ne perd que le temps + et la lexive. + Chi choppe et ne tombe pas adiouste a ces pas. + + <i>Folio 131, back</i>. + + Amour, toux et fumee, en secrett ne sont demeuree. + Il a pour chaque trou vne cheville, + Il n'est vie que d'estre content. + Si tu veux cognoistre villain, baille luy la baggette + en main. + Le boeuf sale, fait trover le vin sans chandelle. + Le sage va toujours la sonde a la main. + Qui se couche avec les chiens, se leve avec de puces. + A tous oiseaux leur nids sont beaux + Ovrage de commune, ovrage de nul. + Oy, voi, et te tais, si tu veux vivre en paix. + Rouge visage et grosse panche, ne sont signes de + penitence. + A celuy qui a son paste an four, on peut donner de + son tourteau. + Au serviteur le morceau d'honneur. + Pierre qui se remue n'accuille point de mousse + Necessite fait trotter la vieille. + Nourriture passe nature. + La mort n'espargne ny Roy ny Roc. + En mangeant l' appetit vient. + Table sans sel, bouche sans salive + Les maladyes vient a cheval, et s'en returne a pieds. + Tenez chauds le pied et la teste, an demeurant + vivez en beste. + Faillir est vne chose humaine, se repentir divine, + perseverer diabolique. + Fourmage est sain qui vient de ciche main. + + <i>Folio 131, back—continued</i>. + + Si tu veux engraisser promptement, mangez avec + faim, bois a loisir et lentement. + A l'an soixante et douse, temps est qu'on se house. + Vin sur laict c'est souhait, lait sur vin c'est venin + Faim fait disner passetemps souper. + Le maux terminans en ique, font an medecine la + nique. + Au morceau restiffe esperon de vin. + Vn oeuf n'est rien, deux font grand bien, trois c'est + assez, quattre c'est fort, cinque c'est la mort. + Apres les poire le vin ou le prestre + Qui a la sante est riche et ne le scait pas. + A la trogne on cognoist l'yvrogne. + Le fouriere de la lune a marque le logis. + Vne pillule fromentine, vne dragme sermentine, et la + balbe[32] d'vne galline est vne bonne medecine. + Il faut plus tost prendre garde avec qui tu bois et + mange, qu'a ce que tu bois et mange. + Qui tout mange le soir, le lendemain rogne son pain + noir + Vin vieux, amy vieux, et or vieux sont amez en + tous lieux. + +</pre> + <hr /> +<pre xml:space="preserve"> + <i>Folio 132, front</i>. + + Qui veut vivre sain, disne pen et soupe moins. + Lever a six, manger a dix, souper a six, coucher a + dix, font l'homme vivre dix fois dix. + De tous poissons fors que la tenche, prenez les dos, + lessez le ventre. + Qui couche avec la soif, se leve avec la sante. + Amour de garze et saut de chien, ne dure si l'on ne + dit tien. + Il en est plus assotte qu'vn fol de sa marotte. + Qui fol envoye fol attende. + Pennache de boeuf. + Vn Espagnol sans Jesuite est comme perdis sans + orange. + C'est la maison de Robin de la vallee, ou il y a ny + pott an feu, ny escuelle lavee. + Celuy gouverne bien mal le miel qui n'en taste. + Auiourdhuy facteur, demaine fracteur. + II est crotte en Archidiacre. + Apres trois jours on s'ennuy, de femme, d'hoste, et + de pluye. + Il n'est pas eschappe qui son lien traine. + En la terre des aveugles, le borgne est Roy. + Il faut que la faim soit bien grande, quand les + loups mange l'vn l'autre. + Il n'est[33] faut qu'vne mouche luy passe, par devant le + nez, pour le facher. + La femme est bien malade, quand elle ne se peut + tenir sur le dos. + +</pre> + <hr /> +<pre xml:space="preserve"> + <i>Folio 132, front—continued</i>. + + Il n'a pas bien assise ses lunettes. + Cette flesche n'est pas sorti de son carquois. + L'affaire vas a quattre roues + Merchand d'allumettes + C'est vn marchand qui prend l'argent sans center + ou peser. + Je vous payeray en monnoye de cordelier. + Vous avez mis le doit dessus. + S'embarquer sans bisquit. + Coucher a l'enseigne de l'estoile + On n'y trove ny trie ny troc. + Cecy n'est pas de mon gibier. + Joyeux comme sourris en graine + Il a beaucoup de grillons en la teste. + Elle a son Cardinall + Il est fourni du fil et d'esguille. + Chevalier de Corneuaille. + Angleterre le Paradis de femmes, le pourgatoire de + valetts, l'enfer de chevaux. + Le mal An entre en nageant. + Qui a la fievre an Mois de May, le rest de l'an vit + sain et gay. + Fol a vint cinque carrattes + Celuy a bon gage du Chatte qui en tient la peau. + Il entend autant comme truye en espices + Nul soulas humaine sans helas + In (<i>sic</i>) n'est pas en seurete qui ne mescheut onques. + + <i>Folio 133, front</i>. + + [Blank] + + <i>Folio 133, back</i>. + + Some choice Frensh Prover[bs.] +</pre> + <p> + [Illustration: Tail Piece from Spencer's "Faerie Queen." 1617] + </p> + <p> + <br /><br /> + </p> + <hr /> + <p> + <a name="link2H_FOOT" id="link2H_FOOT"> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + FOOTNOTES. + </h2> + <p> + [1] Digges really means "When Time dissolves thy Stratford Mask". + </p> + <p> + [2] Through the whole play the fact that Puntarvolo represents Bacon is + continually apparent to the instructed reader. Note especially Act II., + Scene 3, where Puntarvolo addresses his wife, who appears at a window, in + a parody of the address of Romeo to Juliet. Again in Act II., Scene 3, + Carlo Buffone calls Puntarvolo "A yeoman pheuterer." Pheuter or feuter + means a rest or supportfor a spear—which is informing. + </p> + <p> + [3] This fact so puzzling to Halliwell-Phillipps is fully explained when + it is realised that William Shackspere of Stratford could neither read or + write. + </p> + <p> + [4] The words attriuted to Apollo, are of course spoken by his Chancellor + Bacon. See note on the number 33 on page 112. + </p> + <p> + [5] While I am perfectly satisfied that the above explanation of the + meaning of the expression "All numbers" is the correct one; I am not + unaware that at the date at which the Discoveries appeared "All numbers" + would be generally understood in its classical sense; Jonson of course not + being permitted to speak too plainly. He was foreman of Bacon's good pens + and one of his "left-hands"; as any visitor to Westminster Abbey may + learn, the attendants there being careful to point out that the sculptor + has "accidentally" clothed Jonson's Bust in a left-handed coat. (With + respect to the meaning of this the reader is referred to Plate 33, page + 131.) Thus far was written and in print when the writer's attention was + called to the Rev. George O Neill's little brochure, "Could Bacon have + written the plays?" in which in a note to page 14 we find "Numeri" in + Latin, "numbers" in English, applied to literature mean nothing else than + verse, and even seem to exclude prose. Thus Tibullus writes, "<i>Numeris + ille hic pede libero scribit</i>" (one writes in verse another in prose), + and Shakespeare has the same antithesis in "Love's Labour Lost" (iv., 3), + "These numbers I will tear and write in prose." Yet all this does not + settle the matter, for "Numeri" is also used in the sense merely of + "parts". Pliny speaks of a prose work as perfect in all its parts, "<i>Omnibus + numeris absolutus</i>," and Cicero says of a plan of life, "<i>Omnes + numeros virtutis continet</i>" (it contains every element of virtue). So + that Jonson may have merely meant to say in slightly pedantic phrase that + Bacon had passed away all parts fulfilled. + </p> + <p> + [6] Under what is now known as "Rask's law" the Roman F becomes B in the + Teutonic languages: fero, bear; frater, brother; feru, brew; flo, blow, + etc., etc., shewing that the Roman F was by no means really a mute. + </p> + <p> + [7] See Page 104. + </p> + <p> + [8] The number 33 too obviously represented Bacon, and therefore 53 which + spells sow (S 18, O 14, W 21 = 53) was substituted for 33. Scores of + examples can be found where on page 53 some reference is made to Bacon in + books published under various names, especially in the Emblem Books. In + many cases page 55 is <i>misprinted</i> as 53. In the Shakespeare Folio + 1623 on the first page 53 we read "Hang Hog is latten for Bacon," and on + the second page 53 we find "Gammon of Bacon." When the seven extra plays + were added in thethird folio 1664 in each of the two new pages 53 appears + "St. Albans." In the fifth edition, published by Kowe in 1709, on page 53 + we read "deeper than did ever Plummet sound I'll drown my Book"; and on + page 55 <i>misprinted</i> 53 (the only mispagination in the whole book of + 3324 pages) we find "I do ... require My Dukedom of thee, which perforce I + know Thou must restore." In Bacon's "Advancement of Learning," first + English edition, 1640, on page 55 <i>misprinted</i> 53 in the margin in + capital letters (the only name in capital letters in the whole book) we + read "BACON." In Florio's "Second Frutes," 1591, on page 53, is "slice of + bacon" and also "gammon of bakon," to shew that Bacon may be misspelled as + it is in Drayton's "Polyolbion," 1622, where on page 53 we find <i>Becanus</i>. + A whole book could be filled with similar instances. + </p> + <p> + [9] About A.D. 1300 benefit of clergy was extended to all males who could + read. In 1487 it was enacted that mere laymen should have the benefit only + once and should be branded on the thumb to shew they had once had it. <i>Whimsies</i>, + 1623, p. 69, tells us: "If a prisoner, by help of a compassionate + prompter, hack out his neck verse (Psalm li. <i>v</i>. i in Latin) and be + admitted to his clergy, the jailors have a cold iron in store if his purse + be hot, but if not, a hot iron that his fist may <i>Fiz</i>." Benefit of + clergy was not totally abolished till 1827. + </p> + <p> + [10] In 1599 Sir John Hayward, LL.D., brought out "The Life and raigne of + King Henrie IIII extending to the end of the first yeare of his raigne." + This little book contains an account of the trial of Richard II., and was + dedicated to the Earl of Essex in very encomiastic terms. It irritated + Queen Elizabeth in the highest degree, and she clapped Hayward into prison + and employed Sir Francis Bacon to search his book for treason. (Lowndes, + Bohn, p. 1018). The story carefully read reveals the fact that it was + really the play rather than the book which enraged Queen Elizabeth. + </p> + <p> + [11] The appearance of Shakespeare's name in the list of Actors in Ben + Jonson's plays and in the plays known as Shakespeare's was, of course, + part of the plot to place Shakespeare's name in a prominent position while + the pseudonym had to be preserved. + </p> + <p> + [12] Facsimiles of law clerks' writing of the name "John Shakespeare," are + given in Plate 40, Page 169. They are taken from Halliwell-Phillipps' + "Outlines of the Life of Shakespeare," 1889, vol. 2, pp. 233 and 236. In + the first two examples the name is written "Shakes," followed by an + exactly similar scroll and dash to complete the name. In Saunders' + "Ancient Handwriting," 1909, page 24, we are shown that such a "scroll and + dash" represents "per" "par," and "por"; and in Wright's "Court + Handwriting restored" we find that in the most perfectly formed script a + "p" with a dash through the lower part similarly represented "per," "par," + and "por," this is repeated in Thoyts' "How to decipher and study old + documents," and the same information is given in numerous other works. + There is therefore no possible excuse for Dr. Wallace's blundering. + </p> + <p> + [13] A facsimile example of the way in which the law clerk wrote "Shaxper" + is shewn in the third line of Plate 40, Page 169, where it will be seen + that the writer uses a similar "X". + </p> + <p> + [14] Holinshed's Chronicles (1557) state that "Montioy, king-at-arms, was + sent to the King of England to defie him as the enemie of France, and to + tell him that he should shortlie have battell." Moreover, "Montioy" is not + the personal name, but the official title of a Herald of France, just as + "Norroy" is not a personal name, but the official title of one of the + three chief Heralds of the College of Arms of England. + </p> + <p> + [15] He never was a manager. + </p> + <p> + [16] From the Introduction of "The Famous Historie of Troylus and + Cresseid, by William Shakespeare," 1609. This play as the above + Introduction says was never acted. + </p> + <p> + [17] 'well' has been struck out. + </p> + <p> + [18] 'Quin,' this may be 'quis.' + </p> + <p> + [19] This is difficult to read. It may be "faciunt et tedia funera." + </p> + <p> + [20] This is difficult to read. It may be "fero danid es." + </p> + <p> + [21] "Sedeant." This word is doubtful. It may be "tedeant," "te deum" is + not an impossible reading. + </p> + <p> + [22] "Num" may by read as "Nunc." + </p> + <p> + [23] "Validat" may be read "Validas". + </p> + <p> + [24] "Swear," this may be read "Sweat." + </p> + <p> + [25] The side note "Direction generall" has been struck out in the MS. + </p> + <p> + [26] s. P. s. J. may be read s R s. f. + </p> + <p> + [27] "ante," this may be read "aute" = "autem." 2 "ipsa" this may be read + "ipsu"—"ipsum". + </p> + <p> + [28] "Timores" may be read "timoris". + </p> + <p> + [29] "Institit" = insistit. + </p> + <p> + [30] "To frime (to Sp." this line may read, "To trime) to Suse Sp." + </p> + <p> + [31] [This is an endorsement across the page.] + </p> + <p> + [32] "balbe" may be read "balle." + </p> + <p> + [33] For "Il n'est faut" may be read "Il n'en faut." + </p> + <div style="height: 6em;"> + <br /><br /><br /><br /><br /><br /> + </div> +<pre xml:space="preserve"> + + + + +End of the Project Gutenberg EBook of Bacon is Shake-Speare, by +Sir Edwin Durning-Lawrence + +*** END OF THIS PROJECT GUTENBERG EBOOK BACON IS SHAKE-SPEARE *** + +***** This file should be named 9847-h.htm or 9847-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/9/8/4/9847/ + +Produced by Jonathan Ingram, Graham Smith, Tapio Riikonen +and the Online Distributed Proofreading Team. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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