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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. 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