initial commit of ebook 9847HEADmain

1 files changed, 7069 insertions, 0 deletions

diff --git a/9847.txt b/9847.txt
new file mode 100644
index 0000000..ff32df6
--- /dev/null
+++ b/9847.txt
@@ -0,0 +1,7069 @@
+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
+
+Posting Date: November 12, 2011 [EBook #9847]
+Release Date: February, 2006
+First Posted: October 24, 2003
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK BACON IS SHAKE-SPEARE ***
+
+
+
+
+Produced by Jonathan Ingram, Graham Smith, Tapio Riikonen
+and the Online Distributed Proofreading Team.
+
+
+
+
+
+
+
+
+
+
+[Illustration: Plate I From "Sylva Sylvarum," 1627]
+
+
+BACON IS SHAKE-SPEARE
+
+BY
+
+SIR EDWIN DURNING-LAWRENCE, BT.
+
+
+    "Every hollow Idol is dethroned by skill,
+    insinuation and regular approach."
+
+
+Together with a Reprint of
+Bacon's Promus of Formularies and Elegancies.
+
+Collated, with the Original MS. by the late F.B. BICKLEY,
+and revised by F.A. HERBERT, of the British Museum.
+
+
+MCMX
+
+
+
+TO THE READER
+
+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.
+
+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.
+
+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.
+
+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
+_Law Times_, 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.
+
+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.
+
+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.
+
+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.)
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+EDWIN DURNING-LAWRENCE.
+
+
+
+CONTENTS
+
+I.      Preliminary
+
+II.     The Shackspere Monument, Bust, and Portrait
+
+III.    The [so-called] "Signatures"
+
+IV.     Contemporary allusions to Shackspere in "Every
+           Man out of his Humour"; and "As you Like it"
+
+V.      Further contemporary allusions in "The return
+           from Parnassus"; and "Ratsei's Ghost"
+
+VI.     Shackspere's Correspondence
+
+VII.    Bacon acknowledged to be a Poet
+
+VIII.   The Author revealed in the Sonnets
+
+IX.     Mr. Sidney Lee, and the Stratford Bust
+
+X.      The meaning of the word "Honorificabilitudinitatibus"
+
+XI.     On page 136 of the Shakespeare Folio of 1623, being a portion
+           of the play "Loves labour's lost," and its connection with
+           Gustavi Seleni "Cryptomenytices"
+
+XII.    The "Householder of Stratford"
+
+XIII.   Conclusion, with further evidences from Title Pages
+
+XIV.    Postscriptum
+
+XV.     Appendix
+
+        Addenda et Corrigenda
+
+        Introduction to Bacon's "Promus"
+
+        Reprint of Bacon's "Promus"
+
+
+LIST OF ILLUSTRATIONS
+
+PLATE.
+
+I.     _Frontispiece_. Portrait of Francis Bacon, from his "Sylva
+          Sylvarum," 1627.
+
+II.    Portrait of Francis Bacon, by Van Somer.
+          Engraved by W.C. Edwards.
+
+III.   The original "Shakespeare" Monument in Stratford Parish Church,
+          a facsimile from Dugdale's "History of Warwickshire,"
+          published in 1656.
+
+IV.    The Shakespeare Monument as it appears at the present time.
+
+V.     The original Bust, enlarged from Plate III.
+
+VI.    The present Bust, enlarged from Plate IV.
+
+VII.   Reduced facsimile of the title page of the first folio edition
+          of "Mr. William Shakespeare's" plays, published in 1623.
+
+VIII.  Facsimile, full size, of the original portrait
+          [so-called] of "Shakespeare" from the 1623 Folio.
+
+IX.    Verses ascribed to Ben Jonson, facing the title page which is
+          shewn in Plate VII.
+
+X.     The back of the left arm, which does duty for the right arm
+          of the figure, shewn on Plates VII. and VIII.
+
+XI.    The front of the left arm of the figure, shewn on Plates VII.
+          and VIII.
+
+XII.   The [mask] head from the [so-called] portrait by Droeshout
+          in the 1623 Folio.
+
+XIII.  Portrait of Sir Nicholas Bacon. By Zucchero.
+
+XIV.   The five [so-called] "Shakespeare" Signatures.
+          [The sixth is shewn in Plate XXXVIII., Page 164].
+
+XV.    Francis Bacon's Crest, from the binding of a presentation copy
+          of his "Novum Organum," published in 1620.
+
+XVI.   Facsimile of the title page of "The Great Assises holden
+          in Parnassus."
+
+XVII.-XVIII. Facsimiles of pages iii. and iv. of the same.
+
+XIX.   The original "Shakespeare" Monument in Stratford Parish Church,
+          a facsimile from Rowe's "Life and Works of Shakespeare,"
+          Vol. I, 1709.
+
+XX.    Reduced facsimile of page 136 of the first folio edition of
+          the plays, 1623.
+
+XXI.   Full size facsimile of a portion of the same page 136 of the
+          first folio edition of the plays, 1623.
+
+XXII.  Full size facsimile of page F4 of "Loves labor's lost," first
+          quarto edition, published in 1598.
+
+XXIII. Facsimile of a portion of a contemporary copy of a letter by
+          Francis Bacon, dated 1595.
+
+XXIV.  Facsimiles from page 255 of Gustavi Seleni "Cryptomenytices
+          et Cryptographiae," published in 1624.
+
+XXV.   Facsimile from page 2O2b of "Traicte des chiffres ou secretes
+          manieres d'escrire," par Blaise de Vigenere, published in 1585.
+
+XXVI.  Ornamental Heading, from William Camden's "Remains,"
+          published in 1616.
+
+XXVII. Reduced facsimile of the title page of Gustavi Seleni
+          "Cryptomenytices et Cryptographiae," published in 1624.
+
+XXVIII.-XXXI Various portions of Plate XXVII. enlarged.
+
+XXXII. Scene from "The Merry Wives of Windsor," from a painting
+          by Thomas Stothard.
+
+XXXIII. Facsimile of the title page of Bacon's "De Augmentis
+           Scientiarum," published in 1645.
+
+XXXIV. Facsimile of the title page of "New Atlantis, begun by Lord
+          Verulam and continued by R.H., Esquire," published in 1660.
+
+XXXV.  Facsimile of the title page of Bacon's "Historia Regni Henrici
+          Septem," published in 1642.
+
+XXXVI. Nemesis, from Alciati's "Emblems," published in 1531.
+
+XXXVII. Nemesis, from Baudoin's "Emblems," published in 1638.
+
+XXXVIII.-IX. Portion of the MSS. mentioning Shakespeare, discovered
+          by Dr. Wallace.
+
+XL.    Facsimiles of three examples of law clerks' writing of the name
+          "Shakespeare."
+
+XLI.   Facsimile of the Dedication of "The Attourney's Academy."  1630.
+
+XLII.  Facsimile of portion of Folio 85 of the original MS. of Bacon's
+          "Promus."
+
+XLIII. Portrait of Francis Bacon, from painting by Van Somer, formerly
+          in the collection of the Duke of Fife.
+
+The Ornamental Headings of the various Chapters are mostly variations of
+the "Double A" ornament found in certain Shakespeare Quarto Plays, and
+in various other books published circa 1590-1650.
+
+A few references will be found below:--
+
+_Title Page_, and _To the Reader_.
+          Shakespeare's Works. 1623.
+
+_Contents_. Page ix.
+          North's "Lives." 1595.
+          Spenser's "Faerie Queene." 1609, 1611.
+          Works of King James. 1616.
+          Purchas'  "Pilgrimages." 1617.
+          Bacon's "Novum Organum." 1620.
+          Seneca's Works. 1620.
+          Speed's "Great Britaine." 1623.
+          Bacon's "Operum Moralium." 1638.
+
+
+Page 1.   Heading of CHAPTER I.
+            "Contention of Yorke and Lancaster," Part I. 1594.
+            "Romeo and Juliet." 1599.
+            "Henry V." 1598, 1600.
+            "Sir John Falstaffe." 1602.
+            "Richard III." 1602.
+            "Regimen Sanitatis Salerni." 1597.
+
+Page 6.   Heading of CHAPTER II.
+            Hardy's "Le Theatre," vol. 4. 1626.
+            Barclay's "Argenis." 2 vols. 1625-26.
+            Aleman's "Le Gueux." 1632.
+
+Page 35.  Heading of CHAPTER III.
+            Mayer's "Praxis Theologica." 1629.
+            Ben Jonson's Works, Vol. 2. 1640.
+
+Page 40.  Heading of CHAPTER IV.
+            "The Shepheard's Calendar." 1617.
+            "The Rogue." 1622.
+            Barclay's "Argenis." 1636.
+            Bacon's "Remaines." 1648.
+            "The Mirrour of State." 1656.
+
+Page 47.  Heading to CHAPTER V.
+            Preston's "Breast-plate of Faith." 1630.
+
+Page 51.  Heading to CHAPTER VI.
+            "Venus and Adonis." 1593.
+            "Unnatural conspiracie of Scottish Papists." 1593.
+            "Nosce te ipsum." 1602.
+            The ornament reversed is found in:
+            Spenser's "Faerie Queene." 1596.
+            "Historie of Tamerlane." 1597.
+            Barckley's "Felicitie of Man." 1598.
+
+Page 55.  Heading to CHAPTER VII.
+            James I. "Essayes of a Prentise in the Art of Poesie."
+              1584, 1585.
+            De Loque's "Single Combat." 1591.
+            "Taming of a Shrew." 1594
+            Hartwell's "Warres." 1595.
+            Heywood's Works. 1598.
+            Hayward's "Of the Union." 1604.
+
+Page 55 _(continued)_.
+            Cervantes'  "Don Quixote." 1612.
+            Peacham's "Compleat Gentleman." 1622.
+
+Page 69.  Heading of CHAPTER VIII.
+            "Richard II." 1597.
+            "Richard III." 1597.
+            "Henrie IV." 1600.
+            "Hamlet." 1603.
+            Shakespeare's "Sonnets."  1609.
+            Matheieu's "Henry IV." [of France.] 1612.
+
+Page 74.  Heading of CHAPTER IX.
+            Hardy's "Le Theatre." 1624.
+
+Page 84.  Heading of CHAPTER X.
+            Boys' "Exposition of the last Psalme." 1615.
+
+Page 103. Heading of CHAPTER XI.
+            Bacon's "Henry VII." 1629.
+            Bacon's "New Atlantis." 1631.
+
+Page 113. Printed upside down.
+            Camden's "Remains." 1616.
+
+Page 134. Heading of CHAPTER XII.
+            Preston's "Life Eternall." 1634.
+
+Page 144. Heading of CHAPTER XIII.
+            Barclay's "Argenis." 1636.
+
+Page 161. Heading of CHAPTER XIV.
+            Martyn's "Lives of the Kings." 1615.
+            Seneca's Works. 1620.
+            Slatyer's "Great Britaine." 1621.
+            Bacon's "Resuscitatio," Part II. 1671.
+
+Page 177. Heading of CHAPTER XV.
+            Gustavi Seleni "Cryptomenytices." 1624.
+
+Page 187. Introduction to "Promus."
+            "King John." 1591.
+            Florio's "Second Frutes." 1591.
+            De Loque's "Single Combat." 1591
+            Montaigne's "Essais." 1602.
+            Cervantes'  "Don Quixote," translated by Shelton. 1612-20.
+
+Page 287. Tail Piece from Spenser's "Faerie Queen." 1617.
+
+
+[Illustration: Plate II Portrait of Francis Bacon,
+By Van Somer.
+Engraved by W.C. Edwards]
+
+
+
+
+BACON IS SHAKESPEARE.
+
+
+
+CHAPTER I.
+
+
+"What does it matter whether the immortal works were written by
+Shakespeare (of Stratford) or by another man who bore (or assumed) the
+same name?"
+
+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.
+
+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
+"_the_" English poet.
+
+        "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."
+
+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?
+
+Ninety-two years ago, viz.: in June 1818, an article appeared in
+_Blackwood's Edinburgh Magazine_, 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 _her_ Lord Chancellor.
+
+Of course this is all topsy turvydom, for in Queen Elizabeth's reign
+Bacon was never "Lord" Bacon or Lord Chancellor.
+
+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."
+
+_Bacon_. Such will be the fortune of your own
+         productions.
+
+_Shakspeare_. 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.
+
+_Bacon_. 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....
+
+_Shakspeare_. 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.
+
+_Bacon_. These are characters who may be found alive
+        in the streets. But how frame you such
+        interlocutors as Brutus and Coriolanus?
+
+_Shakspeare_. 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....
+
+This ridiculous and most absurd nonsense, which appeared in 1818 in
+_Blackwood's Edinburgh Magazine_ was deemed so excellent and so
+_instructive_ 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.
+
+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.
+
+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 _un_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."
+
+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
+_un_lettered man who "had small Latin and less Greek"!
+
+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.
+
+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.
+
+
+
+
+CHAPTER II.
+
+The Shackspere Monument, Bust, and Portrait.
+
+
+In the year 1909 Mr. George Hookham in the January number of the
+_National Review_ sums up practically all that is really known of the
+life of William Shakspeare of Stratford as follows:--
+
+    'We only know that he was born at Stratford, of illiterate parents--
+    (we do _not_ 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 _in excelsis_,
+    expending so much as a quatrain on his memory.'
+
+[Illustration: Plate III. The Stratford Monument,
+From Dugdale's Warwickshire, 1656.]
+
+[Illustration: Plate IV. The Stratford Monument as it appears
+at the present time.]
+
+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.
+
+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
+_Monthly Review_ 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.
+
+[Illustration: Plate V. The Stratford Bust, from Dugdale's Warwickshire.
+Published 1656.]
+
+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.
+
+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.
+
+[Illustration: Plate VI. The Stratford Bust as it appears at the
+present time.]
+
+The face seems copied from the mask of the so-called portrait in the
+1623 folio, which is shewn in Plate 8.
+
+[Illustration: Plate VIII. Full size Facsimile of part of the Title Page
+of the 1623 Shakespeare folio]
+
+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 _is_ no
+question--there _can be_ no possible question--that in fact it is a
+cunningly drawn cryptographic picture, shewing two left arms and a mask.
+
+The back of the left arm which does duty for the right arm is shewn in
+Plate 10, Page 26.
+
+[Illustration: Plate X. The Back of the Left Arm, from Plate VIII]
+
+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.
+
+[Illustration: Plate XI. The Front of the Left Arm, from Plate VIII]
+
+[Illustration: (not included in list of plates) The Front of Left Arm.
+_From Plate VIII_. The Back of Left Arm _From Plate VIII._ Arranged
+Tailor fashion, shoulder to shoulder, as in the _Gentleman's Tailor
+Magazine_, April, 1911]
+
+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.
+
+[Illustration: Plate XII. The [Mask] Head, from the [so-called]
+Portrait, by Droeshout, in the 1623 Folio]
+
+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.
+
+[Illustration: Plate XIII. Sir Nicholas Bacon, from the Painting
+by Zucchero]
+
+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.
+
+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.
+
+         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.
+
+Plate IX.
+
+VERSES ASCRIBED TO BEN JONSON, FROM THE 1623 FOLIO EDITION
+OF SHAKESPEARE'S WORKS.
+
+
+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.
+
+         "That he his foe not able to withstand,
+          Was ta'en in battle and his eyes out-done."
+
+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.
+
+Perhaps the reader will more fully understand the full meaning of B.I.'s
+lines if I paraphrase them as follows:--
+
+                    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.
+
+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."
+
+In March, 1911, the _Tailor and Cutter_ 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 _Gentleman's Tailor Magazine_,
+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."
+
+"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."
+
+"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."
+
+"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."
+
+"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."
+
+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.
+
+       "He hath _hit_ his face"
+
+It is thought that _hit_ means _hid_ as in Chaucer's Squiere's Tale,
+line 512 etc.
+
+      "Right as a serpent _hit_ him under floures
+       Til he may seen his tyme for to byte"
+
+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.
+
+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 _out_ 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.
+
+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."
+
+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.
+
+Examine once more the original Stratford Bust, Plate 5, Page 14, and the
+present Stratford Bust, Plate 6, Page 15, _with the large pen in the
+right hand_.
+
+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_c_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.
+
+[Illustration: Decorative Chapter Heading]
+
+
+
+
+CHAPTER III.
+
+The so-called "Signatures."
+
+
+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 deg. annoq Dni 1616",
+or shortly in English 25th March 1616.
+
+Shakspeare died 23rd April 1616 just four weeks after publishing his
+will.
+
+I say after "PUBLISHING his Will" advisedly, for such is the
+attestation, viz., "Witnes to the publyshing hereof,"
+
+             "Fra: Collyns
+              Julius Shawe
+              John Robinson
+              Hamnet Sadler
+              Robert Whattcott"
+
+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.
+
+[Illustration: Plate XIV. The Five so-called "Shakespeare Signatures."
+THE FIVE SO-CALLED "SHAKESPEARE SIGNATURES."]
+
+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.
+
+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, _Der Menschenkenner_, which was published in
+January 1909.
+
+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_c_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.
+
+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.
+
+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.
+
+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?
+
+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.
+
+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.
+
+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.
+
+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.
+
+[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.]
+
+Note on the so-called "Signatures."
+
+When part of the purchase money is what is commonly called "left on
+mortgage," the mortgage deed is always dated one day _after_, but is
+always signed one moment _before_, the purchase deed, because the owner
+will not part with his property before he receives his security.
+
+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.
+
+This is evidently true with respect to the signatures of Wm. Johnson
+and Jno. Jackson, the other parries to both of the deeds.
+
+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 _same hand_.
+
+They are widely different, one having been written by the law clerk of
+the seller, the other by the law clerk of the purchaser.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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 _gentleman_.
+
+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."
+
+
+
+
+Chapter IV.
+
+Contemporary Allusions to Shackspere.
+
+
+Shakspeare the Actor purchased New Place at Stratford-on-Avon in 1597
+for L60 and he became a "gentleman" and an esquire when he secured a
+grant of arms in 1599.
+
+How did the stage "honour" the player who had bought a coat of arms and
+was able to call himself a "gentleman"?
+
+Three contemporary plays give us scenes illustrating the incident:
+
+1st. Ben Jonson's "Every man out of his humour" which was acted in 1599
+the very year of Shakspeare's grant of arms.
+
+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.
+
+3rd. "The Return from Parnassus" which was acted at St. John's College,
+Cambridge in 1601, though not printed till 1606.
+
+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.
+
+[Illustration: PLATE XV. Bacon's Crest from the Binding of a
+Presentation Copy of the Novum Organum, 1620.]
+
+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.
+
+The other two characters in the scene (act iii. sc. I) are Puntarvolo
+who, as his crest is a _Boar_, must be intended to represent Bacon;[2]
+and Carlo Buffone who is a buffoon or jester.
+
+Enter Sogliardo (the filth), who is evidently the Stratford Clown, who
+has just purchased a coat of arms:--
+
+          Actus Tertius, Scena Prima,
+            Sogliardo, Punt., Carlo.
+
+ _Sog_. Nay I will haue him, I am resolute for that,
+        by this Parchment Gentlemen, I haue ben
+        so toil'd among the Harrots [meaning
+        _Heralds_] 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.
+
+_Car_.  But ha' you armes? ha' your armes?
+
+_Sog_.  Yfaith, I thanke God I can write myselfe
+        Gentleman now, here's my Pattent, it cost
+        me thirtie pound by this breath.
+
+_Punt_. A very faire Coat, well charg'd and full of
+        Armorie.
+
+_Sog_.  Nay, it has, as much varietie of colours in it,
+        as you haue seene a Coat haue, how like you
+        the Crest, Sir?
+
+_Punt_. I vnderstand it not well, what is't?
+
+_Sog_.  Marry Sir, it is your Bore without a head
+        Rampant.
+
+_Punt_. A Bore without a head, that's very rare.
+
+_Car_.  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?
+               .  .  .  .  .  .
+               .  .  .  .  .  .
+
+_Punt_. Let the word be, _Not without mustard_, your
+        Crest is very rare sir.
+
+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
+_them_" which has no meaning.
+
+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.
+
+                 Act 5, Scene i.
+             Enter Clowne and Awdrie.
+
+_Clow_. We shall finde a time _Awdrie_, patience gentle
+        Awdrie.
+
+_Awd_.  Faith the priest was good enough, for all the
+        olde gentlemans saying.
+
+_Clow_. A most wicked Sir _Oliver, Awdrie_, a most vile
+        _Mar-text._ But _Awdrie_, there is a youth heere
+        in the forrest layes claime to you.
+
+_Awd_.  I, I know who 'tis: he hath no interest in mee
+        in the world: here comes the man you meane.
+
+                    (Enter William)
+
+_Clo_.  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.
+
+_Will_. Good eu'n _Audrey._
+
+_Awd_.  God ye good eu'n _William_.
+
+_Will_. And good eu'n to you sir.
+
+_Clo_.  Good eu'n gentle friend. Couer thy head,
+        couer thy head: Nay prethee bee couer'd.
+        How olde are you Friend?
+
+_Will_. Fiue and twentie Sir.
+
+_Clo_.  A ripe age: Is thy name _William_?
+
+_Will_. _William_, Sir.
+
+_Clo_.  A faire name. Was't borne i'  the Forrest
+        heere?
+
+_Will_. I [Aye] Sir, I thanke God.
+
+_Clo_.  Thanke God: A good answer: Art rich?
+
+_Will_. 'Faith Sir, so, so.
+
+_Clo_.  So, so, is good, very good, very excellent
+        good: and yet it is not, it is but so, so: Art
+        thou wise?
+
+_Will_. I [Aye] sir, I haue a prettie wit.
+
+_Clo_.  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?
+
+_Will_. I do Sir.
+
+_Clo_.  Giue me your hand: art thou Learned?
+
+_Will_. No Sir.
+
+_Clo_. 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 _ipse_ is hee:
+       now you are not _ipse_, for I am he.
+
+_Will_. Which he Sir?
+
+_Clo_.  He Sir, that must marrie this woman.
+
+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-Mar-text_, 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. e_. 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 _them_" which has no meaning.
+
+The clown of Ardennes is rich but only rich for a clown (Shakspeare of
+Stratford was not really rich, New Place cost only L60).
+
+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 "_Art thou learned_" and
+William replies "_No sir_." This means, _unquestionably_, as every
+lawyer must know, that William replies that he cannot _read_ 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.
+
+
+
+
+Chapter V.
+
+"The Return from Parnassus" and "Ratsei's Ghost."
+
+
+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:--
+
+            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.
+
+The portion to which I wish to direct attention is:--
+
+                  Actus 5, Scena i.
+
+_Studioso_. Fayre fell good _Orpheus_, 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.
+            _England_ 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.
+
+_Philomusus_. What ere they seeme being euen at the best
+            They are but sporting fortunes _scornfull_ iests.
+
+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 _better_ 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?
+
+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."
+
+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:--
+
+_Ratsei_. 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.
+
+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 "_he_ needed
+not to care for them that before made _him_ proud with speaking _their_
+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?
+
+
+
+
+CHAPTER VI.
+
+Shackspere's Correspondence!
+
+
+There is only a single letter extant addressed to Shakspeare, and this
+asks for a loan of L30 It is dated 25th October 1598, and is from
+Richard Quiney. It reads
+
+     "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
+
+      (_addressed_)
+
+    LS    To my Loveinge good ffrend
+               & contreymann mr wm
+                  Shackespere d[e]l[ive]r thees."
+
+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.
+
+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."
+
+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."
+
+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."
+
+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;
+
+In 1600 Shakespeare brought action against John Clayton in London for L7
+and got judgment in his favour. He also sued Philip Rogers of Stratford
+for two shillings loaned.
+
+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 L1. 15s. 10d. The poet a
+dealer in malt?
+
+In 1608 he prosecuted John Addenbroke to recover a debt of L6 and sued
+his surety Horneby.
+
+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."
+
+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."
+
+"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."
+
+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 _un_learned of men.
+
+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."
+
+
+
+
+CHAPTER VII.
+
+Bacon acknowledged to be a Poet.
+
+
+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.
+
+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."
+
+After the title, the book commences with two pages of which facsimiles
+are given on pages 58, 59.
+
+[Illustration: Plate XVI. Facsimile Title Page]
+
+[Illustration: Plate XVII. Facsimile of Page III of "The Great Assises"]
+
+[Illustration: Plate XVIII Facsimile of Page IV of "The Great Assises"]
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+Michael Drayton is The Writer of Occurrences. Besides the "Poly-Olbion,"
+he wrote "England's Heroicall Epistles" and "The Barron's Wars."
+
+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."
+
+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.
+
+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).
+
+     "Beamount and Fletcher make one poet, they
+      Single, dare not adventure on a play."
+
+Each of these statements seems to be true. And on Page 33
+Apollo[4] says
+
+     "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."
+
+That is, Apollo _admits_ 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.
+
+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.
+
+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].
+
+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."
+
+Mr. Begbie also tells us that Thomas Campion addresses Bacon thus
+"Whether the thorny volume of the Law or the Schools or the _Sweet Muse_
+allure thee."
+
+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
+
+     "To the royall, ingenious, and all-learned
+         Knight,--
+
+                 Sr Francis Bacon.
+
+     Thy _bounty_ and the _Beauty_ of thy Witt
+     Comprisd in Lists of _Law_ and learned _Arts_,
+     Each making thee for great _Imployment_ fitt
+     Which now thou hast, (though short of thy
+         deserts)
+     Compells my pen to let fall shining _Inke_
+     And to bedew the _Baies_ that _deck_ thy _Front_;--
+     And to thy health in _Helicon_ to drinke
+     As to her _Bellamour_ the _Muse_ is wont:
+     For thou dost her embozom; and dost vse
+     Her company for sport twixt grave affaires;
+     So vtterst Law the liuelyer through thy _Muse_.
+     And for that all thy _Notes_ are sweetest _Aires_;
+     _My Muse thus notes thy worth in eu'ry Line,
+     With yncke which thus she sugers; so, to shine_."
+
+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) _Successor_ [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 _Greece_, or haughty _Rome_."
+
+"He who hath filled up all numbers" means unquestionably "He that hath
+written every kind of poetry."[5]
+
+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 _Greece_ or haughty _Rome_."
+
+But in 1623 Ben Jonson had said of the AUTHOR of the plays
+
+       _"Or when thy sockes were on
+       Leaue thee alone, for the comparison
+       Of all, that insolent_ Greece _or haughtie_ Rome
+       _Sent forth, or since did from their ashes come."_
+
+Surely the statements in the "Discoveries" were intended to tell us who
+was the AUTHOR of the plays.
+
+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
+
+"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."
+
+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.
+
+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 _Law
+Times_, 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.
+
+It requires a philologist to fully appreciate what the enormous
+vocabulary employed in the plays implies.
+
+Max Muller in his "Science of Language," Vol. I, 1899, p. 379, says
+
+"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."
+
+Shakspeare the householder of Stratford could not have known so many as
+one thousand words.
+
+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.
+
+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:--
+
+             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 ...
+
+ _Ham_[_let_]. Alas poore _Yoricke_, I knew him
+ _Horatio_, 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...."
+
+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.
+
+
+
+
+CHAPTER VIII.
+
+The Author revealed in the Sonnets.
+
+
+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.
+
+Speaking in the character of Jaques, who is the alter ego of
+Touchstone, he says,
+
+                      Act ii, Scene 7.
+
+            "O that I were a foole,
+             I am ambitious for a motley coat.
+     _Duke_. Thou shalt haue one.
+     _Jag_.  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."
+
+He also gives us most valuable information in Sonnet 81.
+
+     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.
+
+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
+_against a rival_
+
+    "Your name from hence immortall life shall haue
+     Though I (once gone) to all the world must dye"
+
+or should say _against_ a _rival_,
+
+    "The Earth can yeeld me but a common graue
+     While you intombed in men's eyes shall lye."
+
+or should have declared "_against_ a _rival_,"
+
+    "Your monument shall be my gentle verse"
+
+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
+
+     "Although in me each part will be forgotten."
+
+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
+
+                       "my gentle verse
+     Which eyes not yet created shall ore read"
+
+No! The writer knew his verses were immortal and would immortalize the
+pseudonym attached to them
+
+     "When all the breathers of this world are dead."
+
+Perhaps the reader will better understand Sonnet 81 if I insert the
+words necessary to fully explain it.
+
+     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.
+
+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.
+
+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.
+
+     "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?"
+
+(Sel may mean spell or tell or possibly betray.)
+
+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?
+
+Let us look also at Sonnet No. 78.
+
+     "So oft have I enuoked thee for my Muse,
+      And found such faire assistance in my verse,
+      As every _alien_ pen hath got my use,
+      And under thee their poesy disperse."
+
+Here again we should understand how to read this Sonnet as under:--
+
+     "So oft have I enuoked thee [Shakespeare] for my Muse,
+      And found such faire assistance in my verse,
+      As every _alien_ pen hath got my use,
+      And under thee [Shakespeare] their poesy disperse."
+
+"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.
+
+
+
+
+CHAPTER IX.
+
+Mr. Sidney Lee and the Stratford Bust.
+
+
+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:--
+
+"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."
+
+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 _anything_ as "contemporary evidence," for on
+pages 276-7 (1898 edition) of his "Life of Shakespeare" he writes
+
+"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."
+
+As a matter of fact, the _present_ Stratford monument was not put up
+till about one hundred and twenty years _after_ 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.
+
+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 _present_ 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.
+
+[Illustration: Plate. XIX. The Original Stratford Monument, from Rowe's
+Life of Shakespeare, 1709]
+
+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.
+
+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"?
+
+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.
+
+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.
+
+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.
+
+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".
+
+"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."
+
+This was in 1605, and it is a strange and grim illustration of the
+dangers that beset men in the Highway of Letters.
+
+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 _Revue des Deux Mondes_ in 1865
+declared to be the author's literary Testament.
+
+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" ...
+
+         "and deeper than ever plummet sound
+          He drown my booke."
+
+Yet he does not forget finally to add "I do ... require my Dukedome of
+thee, which perforce I know thou must restore."
+
+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."
+
+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!
+
+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.
+
+It does matter, and England is now declining any longer to _dishonour_
+and _defame_ 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.
+
+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.
+
+The hour has come when it is desirable and necessary to state with the
+utmost distinctness that
+
+          BACON IS SHAKESPEARE.
+
+[Illustration: Plate XX. Reduced Facsimile of Page 136 of the
+Shakespeare Folio, 1623]
+
+[Illustration: Plate XXI. Portion of Page 136, full size, as in the
+Shakespeare Folio 1623]
+
+
+
+
+CHAPTER X
+
+Bacon is Shakespeare.
+
+
+Proved mechanically in a short chapter on the long word
+Honorificabilitudinitatibus.
+
+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
+_Athenoeum_ (London weekly) of December 2nd 1899, tells us the history
+of this long word.
+
+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).
+
+In this "Catholicon," which, though undated, was printed before A.D.
+1500, we read
+
+     "Ab _honorifico, hic_ et _hec honorificabilis,--le_ et
+     --hec honororificabilitas,--tis_ et _hec
+     honorificabilitudinitas_, et est longissima dictio,
+      que illo versu continetur--
+        Fulget Honorificabilitudinitatibus iste."
+
+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.
+
+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.
+
+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.
+
+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."
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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."
+
+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.
+
+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--
+
+  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 "_All_
+         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.
+
+Note on Honorficabilitudinitatibus
+
+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 deg. at Frankfurt "Rogeri
+Baconis ... De Arte Chymiae."
+
+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.
+
+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 _reduced type_ facsimile. He also gave a few particulars of the
+MSS. themselves.
+
+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 L4 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.
+
+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
+_a, b, c, d, e_, outside of the facsimile.
+
+    (_a_) "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.
+
+    (_b_) "By Mr ffrauncis William Shakespeare Baco"--with ffrauncis
+written upside down over it and your/yourself written upside down
+at the commencement of the line. Baco would require Baconis as
+its genitive.
+
+   (_c_) "revealing day through every crany peepes." We think that this
+is an accurate statement of the revelations here afforded.
+
+[Illustration: Modern Script Facsimile of MS Folio 1 _Reduced to about
+one-third the size of the original_]
+
+     (_d_)      your
+          "William Shakespeare." Almost directly above this
+                your
+    appears also    William Shakespeare.
+
+[Illustration: Full-Size Facsimile of Written Ornament on Outside Page
+of Northumberland MSS.]
+
+[Illustration: Full-Size Facsimile of Written Ornament in "Les Tenure de
+Monsieur Littleton." Annotate by Francic Bacon.]
+
+    (_e_) 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.
+
+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.
+
+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."
+
+Perhaps the reader will be enabled better to understand the sneer and
+the mockery by reading the following couplet--
+
+     A fig for old Priscian, a little scratcht, 'twil serve
+     A poet surely need not all his rules observe.
+
+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.
+
+Bome boon | for boon | prescian | a lit     | tle scratcht | 'twil serve
+HI   LU       | DI  F      | BACO  | NIS NA | TI  TUI    |  TI   ORBI
+
+These plays F Bacon's offspring are preserved for the world.
+
+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.
+
+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.
+
+Bacon tells us that there are 24 letters in the alphabet (_i_ and _j_
+being deemed to be forms of the same letter, as are also _u_ and _v_).
+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:
+
+  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
+
+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.
+
+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.
+
+              The solution is as follows
+                    HI
+                    LUDI
+                    F
+                    BACONIS
+                    NATI
+                    TUITI
+                    ORBI
+
+the initial letters of which are
+
+                  H L F B N T O
+
+their numerical values being
+
+                   8 11 6 2 13 19 14 = total 73
+
+and the terminal letters are
+
+                       I I S I I I
+
+their numerical values being
+
+                       9 9 18 9 9 9 = total 63
+                                            __
+
+               Adding this 63 to 73 we get 136
+
+while the intermediate letters are
+
+              U D A C O N I A T U I T R B
+
+their numerical values being
+
+      20 4 1 3 14 13 9 1 19 20 9 19 17 2 = 151
+                                           ___
+
+                                     Total 287
+
+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.
+
+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?
+
+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.
+
+          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.
+
+
+
+
+CHAPTER XI.
+
+On the revealing page 136 in "Loves Labour's lost."
+
+
+In the previous chapter it was pointed out that using letters for
+numbers, Bacon's name is represented by 33.
+
+                     B A C O  N .
+                     2 1 3 14 13 = 33
+
+and that the long word possesses the numerical value of 287.
+
+     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
+
+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?"
+
+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."
+
+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."
+
+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.
+
+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.
+
+Proceeding with the other lines in the page, we read:--
+
+          "Quis quis, thou consonant?"
+
+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:
+
+[Illustration: Plate XXII. Facsimile from "Loues Labor Lost," First
+edition 1598]
+
+     "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."
+
+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.
+
+[Illustration: Plate XXIII. Facsimile of a Contemporary Copy of a Letter
+of Francis Bacon.]
+
+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."
+
+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."
+
+[Illustration: Plate XXIV. FACSIMILES FROM PAGE 255 OF "GU TAVI SELENI
+CRYPTOMENYTICES," PUBLISHED 1624. [The Square Table is much enlarged].]
+
+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."
+
+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]. _See_ Plate 23, Page 107.
+
+[Illustration: Plate XXV. FACSIMILE FROM PAGE 2O2b OF "TRAICTE DES
+CHIFFRES OU SECRETES MANIERES D'ESCRIRE," PAR VlGENERE.]
+
+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.
+
+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
+
+     "Quarta Tabula, ex Vigenerio, pag. 202.b, etc."
+     =Square table taken from Vigenerio, page 202.b.
+
+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. _See_ Spedding's
+"Works of Bacon," Vol. 4, p. 445.
+
+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.
+
+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.
+
+Anyone, therefore, reading the Quarto edition of "Loues Labor's lost,"
+1598, and putting _two_ and _two_ 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.
+
+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.
+
+Before parting with this subject we will give one or two examples to
+indicate how often the number 33 is employed to indicate Bacon.
+
+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 [_circa_ 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.
+
+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]
+
+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.
+
+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.
+
+[Illustration: 106 _Surnames_. Plate XXVI.]
+
+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."
+
+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 "_upside down_." A facsimile of the heading in Camden's book is
+shewn in Plate 26, page 113.
+
+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.
+
+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.
+
+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].
+
+[Illustration: Plate XXVII. Facsimile Title Page.]
+
+[Illustration: Plate XXVIII. Left-Handed Portion, much enlarged, of
+Plate XXVIII.]
+
+[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.]
+
+[Illustration: Plate XXIX. Right-Hand Portion, much enlarged, of
+Plate XXVII.]
+
+[Illustration: Plate XXX. Top Portion of Plate XXVII., much enlarged.]
+
+[Illustration: Plate XXXI. Bottom Portion of Plate XXVII., much
+enlarged.]
+
+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.
+
+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."
+
+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-_spur_. 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,
+
+     "England affordes those glorious vagabonds
+      That carried earst their fardels on their backes
+      Coursers to ride on through the gazing streetes."
+
+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).
+
+[Illustration: Plate XXXII. Scene from "The Merry Wives of Windsor,"
+painted by Thomas Stothard.]
+
+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.")
+
+We have already pointed out that "The Tempest," as Emile Montegut shewed
+in the _Revue des Deux Mondes_ in 1865, is a mass of Bacon's revelations
+concerning himself.
+
+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.
+
+      "Those glorious vagabonds....
+       Sooping it in their glaring Satten sutes."
+
+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."
+
+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.
+
+     "The strong bass'd promontorie
+      Have I made shake, and by the spurs pluckt up."
+
+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).
+
+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.
+
+[Illustration: Plate XXXIII. Facsimile Title Page.]
+
+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 _De Augmentis Scientiarum_, 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, "_Homo
+lunae_," 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.
+
+These two title pages were prepared with consummate skill in order to
+reveal to the world, when the time was ripe, that
+
+           BACON IS SHAKESPEARE.
+
+
+
+
+CHAPTER XII.
+
+The "Householder of Stratford."
+
+
+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.
+
+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 L60). 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]
+
+The play "As You Like it" confirms Ben Jonson's characterisation of
+Shakespeare being "an essential clowne." Next let us turn to Ratsei's
+_Ghost_ (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."
+
+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.
+
+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."
+
+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."
+
+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--
+
+     "Fetch hither Richard, that in common view he may surrender,"
+
+continuing with a description of his deposition extending over 167 lines
+to the words--
+
+     "That rise thus nimbly by a true king's fall."
+
+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."
+
+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.
+
+The story of Richard II.'s deposition was not printed in the play till
+1608, five years after the death of Queen Elizabeth.[10]
+
+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.)
+
+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.
+
+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.
+
+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."
+
+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.
+
+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.
+
+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 _Times_ 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 L300 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 L60 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."
+
+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 "_Swear_" 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
+
+      BACON IS SHAKESPEARE.
+
+
+
+
+Chapter XIII.
+
+Conclusion, with further evidences from title pages.
+
+
+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.
+
+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.
+
+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."
+
+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."
+
+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.
+
+Bacon in 1598, as we have stated in previous pages, fully intended that
+at some future period posterity should do him justice.
+
+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?
+
+    "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."
+
+Bacon intended that "Spight of cormorant devouring Time" ... honour....
+should make [him] heir of all eternitie.
+
+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:
+
+     "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."
+
+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."
+
+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].
+
+[Illustration: Plate XXXIV Facsimile Title Page.]
+
+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.
+
+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:
+
+"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."
+
+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.
+
+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).
+
+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.
+
+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.
+
+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, _improba verba_.
+
+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.
+
+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.
+
+
+[Illustration: Plate XXXV. Facsimile Title Page]
+
+[Illustration: Plate XXXVI. "Nemesis," from Alcaiti's Emblems, 1531]
+
+[Illustration: Plate XXXVII. Page 484 from Baudoin's Emblems 1638]
+
+
+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.
+
+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).
+
+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.
+
+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.
+
+Plain as the plate appears to the instructed eye it seems hitherto to
+have failed to reveal to the _un_instructed its clear meaning that
+
+              BACON IS SHAKE-SPEARE.
+
+
+
+
+CHAPTER XIV.
+
+Postscriptum.
+
+
+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 _Harper's Monthly Magazine_, 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.
+
+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.
+
+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.
+
+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."
+
+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.
+
+[Illustration: Plate XXXVIII Full Size Facsimile of part of
+"Shakespeare's Answers to the Interrogatories," Discovered by Dr.
+Wallace in the British Records Office.]
+
+[Illustration: Plate XXXIX. Full Size Facsimile of part of Daniell
+Nicholas' "Answers to the Interrogatories," Discovered by Dr. Wallace in
+British Record Office.]
+
+                         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.
+
+       *       *       *       *       *
+
+    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.
+
+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."
+
+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]
+
+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,
+
+[Illustration: Plate XL. FACSIMILES OF LAW CLERKS' WRITING OF THE NAME
+"SHAKESPEARE," FROM HALLIWELL-PHILLIPPS' "OUTLINES OF THE LIFE OF
+SHAKESPEARE," VOL. 2, 1889.]
+
+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.
+
+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.
+
+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.
+
+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.
+
+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:
+
+     "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."
+
+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.
+
+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 _signs_ 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.
+
+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.
+
+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."
+
+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
+
+            BACON IS SHAKESPEARE.
+
+[Illustration: Plate XLI. Facsimile of the Dedication of Powell's
+"Attourney's Academy," 1630]
+
+
+
+
+CHAPTER XV.
+
+
+Appendix.
+
+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.
+
+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":--
+
+          "Have more than thou showest,
+           Speak less than thou knowest."
+
+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.
+
+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.
+
+          LORD PALMERSTON, b. 1784, d. 1865.
+
+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.--_From the Diary of the Right Hon.
+Mount-Stewart E. Grant_.
+
+          LORD HOUGHTON, b. 1809, d. 1885.
+
+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.
+
+          SAMUEL TAYLOR COLERIDGE, b. 1772, d. 1834.
+
+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?"
+
+          JOHN BRIGHT, b. 1811, d. 1889.
+
+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 _Rochdale Observer_ reported
+John Bright as scornfully angry with deluded people who believe that
+Shakespeare wrote Othello.
+
+          RALPH WALDO EMERSON, b. 1803, d. 1882.
+
+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."--_Emerson's Works. London, 1883.
+Vol. 4, p. 420_.
+
+          JOHN GREENLEAF WHITTIER, b. 1807, d. 1892.
+
+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."
+
+          DR. W. H. FURNESS, b. 1802, d. 1891.
+
+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."
+
+          MARK TWAIN, b. 1835, d. 1910.
+
+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
+_nothing_. 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
+_race-horse_ 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--_he hadn't any history to record_. 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."
+
+          PRINCE BISMARCK, b. 1815, d. 1898.
+
+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."
+
+"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."
+
+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
+
+           BACON IS SHAKESPEARE.
+
+
+
+A NEUER WRITER, TO AN EUER READER. NEWES.
+
+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.....
+
+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]
+
+
+
+
+ADDENDA ET CORRIGENDA.
+
+
+Footnote to page 45. There was a forest of Arden in Warwickshire.
+
+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.
+
+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.
+
+
+ERRATA.
+
+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."
+
+
+
+                        PROMUS
+
+                          OF
+
+                 FOURMES AND ELEGANCYES
+
+                         BY
+
+                   FRANCIS BACON.
+
+
+PREFACE TO PROMUS
+
+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.)
+
+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.
+
+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.
+
+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.
+
+"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.
+
+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.
+
+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.
+
+                             EDWIN DURNING-LAWRENCE.
+
+
+[Illustration: Plate XLII. Facsimile of portion of Folio 85 of the
+Original MS of Bacon's "Promus." see page 199]
+
+[Illustration: Plate XLIII. Portrait of Francis Bacon, from a Painting
+by Van Somers. Formerly in the Collection of the Duke of Fife]
+
+
+                   Promus of Formularies.
+
+                   _Folio 83, front_.
+
+     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.
+
+              _Folio 83, front--continued_.
+
+     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
+
+            _Folio 83, back_.
+
+     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
+
+           _Folio 84, front_.
+
+     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
+
+          _Folio 84, front--continued_.
+
+     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]
+
+          _Folio 84, back_.
+
+     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]
+
+           _Folio 85, front_.
+
+             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
+
+            _Folio 85, front--continued_.
+
+   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
+
+            _Folio 85, back_.
+
+   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
+
+
+          _Folio 86, front_.
+
+
+   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
+
+           _Folio 86, front--continued_.
+
+// As please the paynter T.
+   Receperunt mercedem suam. T.
+   Secundum tidem vestram fiet vobis
+   Ministerium meum honorificabo
+
+          _Folio 86, back_.
+
+   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
+
+          _Folio 87, front_.
+
+   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
+
+          _Folio 87, back_.
+
+   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
+
+          _Folio 88, front_.
+
+   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
+
+           _Folio 88, back_.
+
+   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
+
+           _Folio 89, front_.
+
+   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
+
+           _Folio 89, front--continued_.
+
+   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?"
+
+           _Folio 89, back_.
+
+   Non est apud aram Consultandem.
+   Eumenes litter
+   Sorti pater equus vtrique
+   Est quoddam [_sic_] 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
+   _Vos adoratis quod nescitis_
+   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
+   _Scientiam loquimur inter perfectos
+   Et Justificata est sapientia a filijs suis_
+   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
+
+           _Folio 90, front_.
+
+   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
+
+          _Folio 90, back_.
+
+   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
+
+          _Folio 90, back--continued_.
+
+   The art of forgetting.
+   Rather men then maskers.
+   Variam dans otium mentem
+   Spire lynes.
+
+          _Folio 91, front_.
+
+   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
+
+           _Folio 91, back_.
+
+   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
+
+          _Folio 92, front_.
+
+   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.
+
+          _Folio 92, back_.
+
+   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.
+
+          _Folio 93, front_.
+
+   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.
+
+          _Folio 93, back_.
+
+   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.
+
+          _Folio 94, front_.
+
+   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.
+
+          _Folio 94, back_.
+
+   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.
+
+           _Folio 95, front_.
+
+   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
+
+          _Folio 95, back_.
+
+   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
+
+          _Folio 96, front_.
+
+
+   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
+
+          _Folio 96, back_.
+
+   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
+
+          _Folio 97, front_.
+
+   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)
+
+          _Folio 97, back_.
+
+   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).
+
+          _Folio 98, front_.
+
+   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
+
+          _Folio 98, back_.
+
+   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).
+
+          _Folio 99, front_.
+
+   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
+
+          _Folio 99, back_.
+
+   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).
+
+          _Folio 100, front_.
+
+   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.
+
+           _Folio 100, back_.
+
+   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.
+
+          _Folio 101, front_.
+
+   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).
+
+          _Folio 101, back_.
+
+   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 (_sic_) (potentes ad
+      nocendum)
+
+          _Folio 101, back--continued_.
+
+   Scopae dissolute
+   Clavum clauo pellere
+   Extra querere sese
+
+          _Folio 102, front_.
+
+   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
+
+          _Folio 102, back_.
+
+   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.
+
+          _Folio 103, front_.
+
+   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
+
+           _Folio 103, back_.
+
+   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
+
+          _Folio 103 back--continued_.
+
+   In nil sapiendo vita jucundissima
+   Parturiunt montes nascetur ridiculus mus
+   Dulce bellum inexpertis
+   Naturam expellas furca licet vsque recurret.
+
+          _Folio 104, front_.
+
+   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
+
+          _Folio 104, front--continued_.
+
+   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
+
+           _Folio 104, back_.
+
+   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
+
+          _Folio 104, back--continued_.
+
+   Noris nos inquit doctj sumus
+      O te bollane cerebrj
+   Felicem aiebam tacitus.
+
+          _Folio 105, front_.
+
+      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
+
+          _Folio 105, back_.
+
+   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]
+
+          _Folio 106, front_.
+
+     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
+
+           _Folio 106, back_.
+
+           A late promus of formularies
+                  and elegancies
+
+   Synanthr
+   Synanthropy
+
+          _Folio 107, front_.
+
+   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.
+
+          _Folio 107, back_.
+
+               [Blank]
+
+          _Folio 108, front_.
+
+            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.
+
+          _Folio 108, back_.
+
+         Benedictions and maledictions
+   Et folium eius non defluet
+   Mella fluant illj ferat
+      et rubus asper amonium
+                 Abominacion
+
+   Dij meliora pijs
+   Horresco referens
+
+          _Folio 109, front_.
+
+   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
+
+          _Folio 109, back_.
+
+               [Blank]
+
+          _Folio 109c, front_.
+
+               [Blank]
+
+          _Folio 109d, back_.
+   Synanthropie
+
+          _Folio 110, front_.
+
+                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; _sleight_ of Act. of
+      strength quicknes; quick of y'e hand; legg, the
+      whole mocion; strength of arme; legge; _Of
+      Activity of sleight_.
+   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
+
+          _Folio 110, front--continued_.
+
+   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
+
+           _Folio 110, back_.
+
+                [Blank]
+
+           _Folio 111_.
+
+                [Blank]
+
+          _Folio 112, front_.
+
+   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.
+
+          _Folio 112, front--continued_.
+
+   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."
+
+       *       *       *       *       *
+
+          _Folio 112, back_.
+
+               [Blank]
+
+          _Folio 113, front_.
+
+               [Blank]
+
+          _Folio 113, back_.
+
+         fourmes & elegancyes.
+
+          _Folio 114, front_.
+
+_Formularies Promus 27 Jan. 1595_.
+
+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
+
+       *       *       *       *       *
+
+          _Folio 114, back_.
+
+               [Blank]
+
+          _Folio 115, front_.
+
+               [Blank]
+
+          _Folio 115, back_.
+           ffrancys Dalle
+        fragments of Elegancyes
+
+          _Folio 116, front_.
+
+//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.
+
+          _Folio, 116 back_.
+
+//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
+
+       *       *       *       *       *
+
+          _Folio 117, front_
+
+In deliberatives and electives
+
+           _Folio 117, back_.
+
+Cujus excusatio paratior est vel venia indulta inagis
+   minus malum.
+
+          _Folio 118, front_.
+
+  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
+
+       *       *       *       *       *
+
+          _Folio 118, back_.
+
+               [Blank]
+
+          _Folio 119, front_.
+
+               [Blank]
+
+          _Folio 119, back_.
+
+               [Blank]
+
+          _Folio 120, front_.
+
+   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.
+
+          _Folio 120, back_.
+
+               [Blank]
+
+          _Folio 121, front_.
+
+               [Blank]
+
+          _Folio 121, back_.
+
+               [Blank]
+
+          _Folio 122, front_.
+
+// Quod inimicis nostris gratum est ac optabile vt
+//     _nobis_ 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.
+
+          _Folio 122, back_.
+
+//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.
+
+           _Folio 123, front_.
+
+// 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
+
+          _Folio 123, back_.
+
+   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 (_sic_) sine illo fierj no (_sic_) 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 |
+
+          _Folio 124, front_.
+
+   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.
+
+          _Folio 124, back_.
+
+               [Blank]
+
+          _Folio 125, front_.
+
+               [Blank]
+
+         _Folio 125, back_.
+
+              [Blank]
+
+         _Folio 126, front_.
+
+                        _Analogia Caesaris_
+
+                     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
+
+         _Folio 126, front--continued_.
+
+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)
+
+       *       *       *       *       *
+
+NOTE.--This folio is written in three columns. The third column begins,
+"It is a small thing."
+
+          _Folio 126, back_.
+
+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
+
+       *       *       *       *       *
+
+          _Folio 126, back--continued_.
+
+   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).
+
+          _Folio 127, front_.
+
+             [Blank]
+
+          _Folio 127, back_.
+
+                 Cursitours lament and cry
+                 [31]Verba interjectiua siue ad
+                        gratiam sparsam
+
+          _Folio 128, front_.
+
+    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
+
+          _Folio 128, front--continued_.
+
+   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
+
+          _Folio 128, back_.
+
+   Quod ad bonum finem dirigitur bonum, quod ad
+      mulum malum
+
+          _Folio 129 front_.
+
+              [Blank]
+
+          _Folio 129 back_.
+
+                    Philologia
+            colors of good and euill
+
+          _Folio 130 front_.
+
+          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.
+
+          _Folio 130, front--continued_.
+
+   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.
+
+          _Folio 130, back_.
+
+   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.
+
+          _Folio 130, back--continued_.
+
+   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.
+
+           _Folio 131, front_.
+
+   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.
+
+          _Folio 131, front--continued_
+
+   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.
+
+          _Folio 131, back_.
+
+   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.
+
+          _Folio 131, back--continued_.
+
+   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.
+
+       *       *       *       *       *
+
+           _Folio 132, front_.
+
+   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.
+
+       *       *       *       *       *
+
+          _Folio 132, front--continued_.
+
+   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 (_sic_) n'est pas en seurete qui ne mescheut onques.
+
+          _Folio 133, front_.
+
+               [Blank]
+
+          _Folio 133, back_.
+
+   Some choice Frensh Prover[bs.]
+
+[Illustration: Tail Piece from Spencer's "Faerie Queen." 1617]
+
+
+
+
+FOOTNOTES.
+
+
+[1] Digges really means "When Time dissolves thy Stratford Mask".
+
+[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.
+
+[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.
+
+[4] The words attriuted to Apollo, are of course spoken by his Chancellor
+Bacon. See note on the number 33 on page 112.
+
+[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,
+"_Numeris ille hic pede libero scribit_" (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, "_Omnibus numeris absolutus_," and Cicero says of a plan of life,
+"_Omnes numeros virtutis continet_" (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.
+
+[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.
+
+[7] See Page 104.
+
+[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 _misprinted_ 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 _misprinted_ 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 _misprinted_ 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 _Becanus_. A whole book could be filled with similar
+instances.
+
+[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. _Whimsies_, 1623, p. 69, tells us: "If a prisoner, by help
+of a compassionate prompter, hack out his neck verse (Psalm li. _v_. 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
+_Fiz_." Benefit of clergy was not totally abolished till 1827.
+
+[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.
+
+[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.
+
+[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.
+
+[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".
+
+[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.
+
+[15] He never was a manager.
+
+[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.
+
+[17] 'well' has been struck out.
+
+[18] 'Quin,' this may be 'quis.'
+
+[19] This is difficult to read. It may be "faciunt et tedia funera."
+
+[20] This is difficult to read. It may be "fero danid es."
+
+[21] "Sedeant." This word is doubtful. It may be "tedeant," "te deum" is
+not an impossible reading.
+
+[22] "Num" may by read as "Nunc."
+
+[23] "Validat" may be read "Validas".
+
+[24] "Swear," this may be read "Sweat."
+
+[25] The side note "Direction generall" has been struck out in the MS.
+
+[26] s. P. s. J. may be read s R s. f.
+
+[27] "ante," this may be read "aute" = "autem." 2 "ipsa" this may be
+read "ipsu"--"ipsum".
+
+[28] "Timores" may be read "timoris".
+
+[29] "Institit" = insistit.
+
+[30] "To frime (to Sp." this line may read, "To trime) to Suse Sp."
+
+[31] [This is an endorsement across the page.]
+
+[32] "balbe" may be read "balle."
+
+[33] For "Il n'est faut" may be read "Il n'en faut."
+
+
+
+
+
+
+
+
+
+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.txt or 9847.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.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.