Part 15

Like the Pontic Sea Whose icy current and compulsive course Ne’er feels retiring ebb, but keeps due on To the Propontic and the Helespont.”

See the _Sunday Times_, August 28, 1921. With reference to the 160 new lines added in the folio version of _Othello_ and which “cannot be attributed to any other hand but the author’s,” it will be remembered that William Shakspere of Stratford died some six years before the publication of the quarto of 1622. (See _Is there a Shakespeare Problem?_ p. 443 _et seq._)

[27] In the _Fortnightly Review_ of January, 1922, Mr. W. Bayley Kempling gravely informs us that Shakespeare bestowed the name of “Mountjoy” on the French Herald in _Henry V._ in honour of the “tire-maker” of that name with whom player Shakespeare lodged for a time in Mugwell (i.e., Monkwell) Street, thereby repeating the preposterous error of Dr. Wallace (often exposed by the present writer amongst others) who wrote in ignorance of the fact that “Mountjoy King at Arms” was the official name of a French Herald who, as Holinshed informs us, made his appearance at Agincourt! Had Mr. Kempling condescended to read an “heretical” author he might have been saved from this absurd mistake.

[28] This Essay was written by Mr. Smithson in 1919-20.

[29] The words of the original are:

“Who in an angle, where the ants inhabit, (The emblems of his labours) will sit curl’d,” etc. [Ed.]

[30] But it was not “these ‘glories’,” but the Faction of Chronomastix, and the “Fame of his own,” who, according to the real Fame, were destined to “deify a Pompion.” The suggestion which follows that the “glories” were “a selection from among the _dramatis personæ_ who were about to figure in the First Folio” is an hypothesis which will not, I fear, meet with general acceptance even among “Baconians.” [ED.]

[31] It might be well here to quote the original words. Chronomastix, addressing Fame, delivers himself as follows:

“It is for you I revel so in rhyme, Dear Mistress, not for hope I have, the Time Will grow the better by it; to serve Fame Is all my end, and get myself a name.”

To which Fame answers:

“Away, I know thee not, wretched impostor, Creature of glory, mountebank of wit, Self-loving braggart, Fame doth sound no trumpet To such vain empty fools: ’tis Infamy Thou serv’st, and follow’st, scorn of all the Muses! Go revel with thine ignorant admirers, Let worthy names alone.”

Whereupon Chronomastix makes an appeal to his “ignorant admirers”:

“O you, the Curious, Breathe you to see a passage so injurious, Done with despight, and carried with such tumour ’Gainst me, that am so much the friend of rumour? I would say, Fame? Who with the lash of my immortal pen Have scourg’d all sorts of vices and of men. Am I rewarded thus? have I, I say, From Envy’s self-torn praise and bays away, With which my glorious front, and word at large, Triumphs in print at my admirers’ charge?

Whereat “Ears,” one of “The Curious,” exclaims:

Rare! how he talks in verse, just as he writes! [Ed.]

[32] In Mr. Smithson’s _Shakespeare-Bacon_, at p. 124, we read: “A schoolmaster, for example, is engaged in turning ‘all his (Chronomastix’s) workes’ from the insular ‘English in which they were originally written into the general or continental Latine.’” It is somewhat difficult however, to find Bacon under the guise of Chronomastix.

Jonson’s words are:

“There is a school-master Is turning all his works too into Latin, To pure Satyric Latin; makes his boys To learn him; call’s him the Times Juvenal; Hangs all his school with his sharp sentences; And o’er the execution place hath painted Time whipt, for terror to the infantry.”

This also appears to be an allusion to George Wither. [ED.]

[33] Swan Sonnenschein & Co., 1899.

[34] _Shakespeare-Bacon_ pp. 89-91, and Note 2 on p. 91.

[35] It may perhaps be worth while to quote some of the words put into the mouth of “Fame” when “the whole Scene opens,” and Saturn sitting with Venus is discovered above, and certain “Votaries” come forth below, “which are the chorus,” shortly before “the Masquers are discovered.”

“Within yond’ darkness, Venus hath found out That Hecate, as she is queen of shades, Keeps certain glories of the time obscured, There for herself alone to gaze upon As she did once the fair Endymion. These Time hath promised at Love’s suit to free As being fitter to adorn the age. By you [i.e., King James] restored on earth, most like his own; And fill this world of beauty here, your Court.”

What were the “certain glories of the time obscured” which Time had “promised at Love’s suit to free” is matter for speculation.

[36] But _Shepheard’s Hunting_ appeared in 1615. Jonson, in the Grand Chorus at the end of the Masque, writes:--

“Turn hunters then Again But not of men. Follow his ample And just example, That hates all chase of malice, and of blood, And studies only ways of good. To keep soft peace in breath Man should not hunt mankind to death, But strike the enemies of man. Kill vices if you can,” etc.

Here was yet another hit at George Wither, but who was he whose “ample and just example” was held up as a model for imitation? [ED.]

[37] Mr. Smithson’s references to Sir Sidney as Mr. Lee show that this Essay was written many years ago. [Ed.]

[38] But an _impresa_ was much more than this. _Imprese_ were employed in tournaments (e.g.). Puttenham says, “The Greeks call it Emblema, the Italians Impresa, and we a Device, such as a man may put into letters of gold and send to his mistresses for a token, or cause to be embroidered in Scutcheons of arms on any bordure of a rich garment, to give by his novelty marvel to the beholder.” On this matter of the Earl of Rutland’s _Impresa_ (it was Francis Manners, the Sixth Earl for whom the work was executed), see my “_Is there a Shakespeare Problem?_” pp. 16-21. It is to be noted that in the year 1613, after all the great Shakespearean works had been written, we find Shakspere, the (alleged) great dramatist, then, as we must assume, at the zenith of his fame, engaged with his fellow-actor, Dick Burbage, to work at Lord Rutland’s new Device, for the magnificent reward of 44^{s}.! [Ed.]

[39] Alas, that rich harvest has never seen the light. [Ed.]

[40] In the portrait Bacon has an open book before him, across whose pages are written the words “_Instaur_” and “_Magna_.” On the left-hand page appear the words “_Mundus Mens_,” and on the right-hand page the words “_connubio jungam stabili_.” [Ed.]

[41] I venture to refer to my short article on _The Tempest_ in “The New World” of April, 1921. The reader may also profitably consult Mr. Looney’s _“Shakespeare” Identified_ on this matter, at p. 513. [Ed.]

[42] The better opinion now seems to be that _Henry VIII_ is not Shakespearean, but was written by Fletcher and Massinger in collaboration. Mr. James Spedding long ago tendered reasons which have convinced most of the “orthodox” critics that the better part of this play, including Wolsey’s and Buckingham’s speeches, was the work of Fletcher, and recently Mr. Dugdale Sykes, in his _Sidelights on Shakespeare_, published at the “Shakespeare Head Press” at Stratford-upon-Avon (1919), with preface by the late A. H. Bullen, appears to have proved that all that part of this great spectacular drama which was not written by Fletcher came from the pen of Massinger, who, as we know, frequently collaborated with him. [Ed.]

[43] Milton’s versification of the Psalms is much worse than Bacon’s, and if there were any doubt as to the authorship of _Paradise Lost_, and _Lycidas_, and _L’Allegro_, and _Il Penseroso_, and Milton were known only as the writer of this versification of the Psalms, it would be confidently asserted that he could not possibly be the author of the above-mentioned works. [ED.]

[44] This Essay was written by Mr. Smithson in the year 1919.

[45] See my _Shakespeare Problem Restated_, p. 342. [Ed.]

[46] Jonson says “wherein he flowed with that facility that sometimes it was necessary he should be stop’d; _Sufflaminandus erat_, as Augustus said of Haterius.” This means that he had to be “stop’d” not in _writing_ but in _talking_. See my _Is there a Shakespeare Problem?_ p. 386, _seq._ [Ed.]

[47] The so-called _Masque of Owls_ begins with the stage-direction: “Enter Captain Cox on his Hobby horse,” of which animal the Captain says: “He is the Pegasus that uses to wait on Warwick Muses, and on gaudy days he paces Before the Coventry Graces.” The “Warwick Muses” are generally supposed to be the Morris-dancers of the county, with whom the hobby-horse was usually associated. [Ed.]

[48] To which, of course, Bacon had been “translated,” first as Baron Verulam, and later as Viscount St. Alban. [Ed.]

[49] This is No. LXV. Nota 6, in Sir I. Gollancz’s Edition. [ED.]

[50] No. LXXI.

[51] No. LXXII.

[52] See _Manes Verulamiani_, published by Sir Wm. Rawley (1626). No. 32, by Thomas Randolph of Trinity College, Cambridge. [Ed.]

[53] Waller in the dedication of his works to Queen Henrietta Maria, speaks of Sir Philip Sidney and Sir Francis Bacon as “Nightingales who sang only with spring; it was the diversion of their youth.” [ED.]

[54] See note _ante_ p. 84. [ED.]

[55] Mrs. Humphry Ward’s _Reminiscences_, 1918, are, if memory fail not, my authority here. [See Mrs. H. Ward’s _Recollections_, pp. 255-258, and an interesting letter, headed “Shakespeare Folios,” and signed “A. R. Watson,” in _The Times_ of April 13, 1922. Ed.]

[56] It cannot be proved that Shakspere ever spelt his name Shakespeare. Shakspere seems to be the form he preferred. Probably however, both he and his illiterate father Shaxper, Shaksper, Shakspear, or what not, were anything but fastidious about spellings. Persons who happen to be interested in the Shakspere family’s fifty or sixty ways of spelling their name will thank me for referring them to Sir George Greenwood’s _Shakespeare Problem_ where they will find it stated that “the form Shakespeare seems never to have been employed by them.” Among examples of destructive criticism of the Stratford theory, I know not one so exhaustive and deadly as this of Sir G. Greenwood’s. In my _Shakespeare-Bacon Essay_, Shakspere, his irredeemably vulgar Will, and other doings, are relegated to an appendix.

[57] Whitgift to wit. [Ed.]

[58] The allusion is to Francis Meres’s _Palladis Tamia_, 1598. [Ed.]

[59] See Bacon’s Essay _Of Simulation and Dissimulation_, where he will have it that dissimulation is a necessary consequence of “secrecy,” its “skirts or traine, as it were.” Simulation he holds to be “more culpable ... except it be in great and rare matters” where there is “no Remedy.” Jonson would be able to maintain that his Ode told no lies direct--its attribution of “small Latin” being merely conditional, and its “Swan of Avon” a purely imaginary bird.

[60] As to Jonson and Shakespeare, see further the extract from an article contributed by Mr. Smithson to _The Nineteenth Century_, prefixed to his Essay on the Masque of _Time Vindicated_. I may be allowed also to refer to my booklet _Ben Jonson and Shakespeare_ (Cecil Palmer, 1921).

[61] In this place the order of the words is slightly altered, but the quoted words are Bacon’s. Here also it may be well to observe that Francis Bacon was not a pioneer in the revolt against what is called the Aristotelian, but should be called the Scholastic Philosophy. Destructive criticism of that philosophy began at least as early as the 13th century and had already done its work so far as natural science was concerned long before Francis Bacon took up the cry.

[62] This always reminds me of _The Tempest_ and its projected match between Ferdinand, the unsophisticated mind of man, and Miranda, symbol of the new method of nature study. Naples, the New City of the Tempest, would thus stand for the model city or state expected to spring up as a result of the New Method. The _New Atlantis_ of Bacon was another state of this kind.

[63] In a letter to his uncle, 1592, Bacon wrote: “I have taken all knowledge to be my province.” May this explain the “universality” with which James I is here credited?

[64] These same goodly fields had been so diligently cultivated by Bacon that his insight into human nature was probably unequalled by any of his contemporaries, whilst his mastery of all arts of expression enabled him to portray it as it has never been portrayed before or since.

[65] “Insignia hæc amoris et mæstitiæ monumenta.” These were published by Rawley under the title of _Manes Verulamiani_, in 1626, the year of Bacon’s death. [Ed.]

[66] S. Collins, Rector of King’s College, Cambridge, writes, in the _Manes Verulamiani_:

_Henricus_ neque Septimus tacetur, Et quicquid venerum politiorum, et Si quid præterii inscius libellum Quos magni peperit vigor Baconi.

Where the appended translation reads: “Nor must the Seventh Henry fail of mention, or if aught there be of more cultured loves, aught that I unwitting have passed over of the works which the vigor of great Bacon hath produced.” A note explains “quicquid venerum politiorum” as “stories of love more spiritually interpreted,” and refers to Bacon’s _De Sapientia Veterum_.

The author of No. XVIII of the _Manes_ tells us that “the Day Star of the Muses hath fallen ere his time! Fallen, ah me, is the very care and sorrow of the Clarian god [Phœbus to wit], thy darling, nature and the world’s--Bacon: aye--passing strange--the grief of very Death.

What privilege did not the crule Destiny [_Atropos_, one of the Fates] claim? Death would fain spare, and yet she [_Atropos_] would not. Melpomene, chiding, would not suffer it, and spake these words to the stern goddesses [the _Parcæ_, or Fates]: ‘Never was Atropos truly heartless before now; keep thou all the world, only give my Phœbus back.’” It is to be noted that the Muse who here speaks of Bacon as her “Phœbus,” or Apollo, is Melpomene the Muse of Tragedy. [ED.]

[67] But “moral philosophy,” the words used both by “Shakespeare” and Bacon, are the correct translation of τῆς πολιτικῆς. “Political philosophy” would have been a wrong translation. Moreover, Erasmus, before “Shakespeare” and Bacon, had rightly translated πολιτικῆς by “moral philosophy.” [Ed.]

[68] Items (e), (f), (g) and (h) are lifted without material alteration from my _Bacon-Shakespeare_ Essay.

[69] The story of the _Merchant of Venice_ is, as is well known, founded on the _Pecorone_ of Ser Giovanni, Day IV, Novel I. See my _Is there a Shakespeare Problem?_ p. 91. _et seq._ [ED.]

[70] See also the forty-sixth Sonnet. [Ed.]

[71] See my chapter on “The Northumberland Manuscript.” _Post_ p. 187.

[72] Not quite “always”--there were some exceptions. [ED.]

[73] This Essay was written by Mr. Smithson in the year 1912.

[74] See XXVI _Prometheus, sive status hominis_. [ED.]

[75] It is a pity that Mr. Smithson has not given us the reference to this delightfully comic, but highly characteristic utterance. [ED.]

[76] _Bacon’s Works_, edited by Spedding, vi, 486.

[77] First published in 1627, a year after Bacon’s death.

[78] This work seems to have been first published in 1612.

[79] _Additamentum_, an addition, or accession to.

[80] At contra, illud animis hominum penitus insidere debuerats artificialia a naturalibus, non forma aut essentia, sed efficiente solummodo differre; homini quippe in naturam nullius rei potestatem esse, præterquam motus, ut scilicet corpora naturalia aut admoveat, aut amoveat.... Itaque natura omnia regit: subordinantur autem illa tria; cursu, naturæ; exspatiatio naturæ; et ars, sive additus rebus homo.

[81] “It is the fashion to talk as if art were something different from nature, or a sort of addition to nature, with power to finish what nature has begun, or correct her when going aside. In truth, man has no power over nature except that of motion--the power, I say, of putting natural bodies together, or separating them--the rest is done by nature within.” _Descriptio Globi Intellectualis_, circ. 1612. Man (e.g.) as the modern writer puts it, “can bring together the radium and the bouillon, but the radiobe, whatever it may be, is none the less a product of nature.” “The art itself is nature.”

[82] Unfortunately, however, Bacon’s instances are far from satisfactory. “We see,” he says, “that in living creatures, that come of putrefaction, there is much transmutation of one into another; as caterpillars turn into flies, etc. And it should seem probable, that whatsoever creature, having life, is generated without seed, that creature will change out of one species into another.” And so forth.

[83] Judge Webb does not refer to Bacon’s remarks on the coloration of flowers which I have thought worth citing, but he quotes the _Natural History_ to the effect that “if you can get a scion to grow upon a stock of another kind” it “may make the fruit greater, though it is like it will make the fruit baser.” But this is not much of a “parallel” with the remark of Polixenes as to marrying “a gentler scion to the wildest stock,” etc.

[84] _Country Matters in Short_, by W. F. Collier, p. 21.

[85] See also his remarks on the saying “homo est planta inversa,” Cent. VII, 607, and compare Burton, _Anat: of Melancholy_, vol. 2, p. 193. Ed. 1800. The scientific facts with regard to sex-difference in the vegetable world were not discovered till some seventy years after Shakspere’s death.

[86] At the same time we must take note, that Bacon’s theory of the flamy substance of which the stars are supposed to consist, seems to differ not a little from the modern conception of matter in a state of combustion or incandescence. See Abbott’s _Life of Bacon_, pp. 374-5.

[87] Sir Edward Sullivan, who appears to have been captivated by Signor Paolo Orano’s quite untenable theory that Hamlet is meant for Giordano-Bruno, makes a truly remarkable comment upon the second of the lines above-quoted, viz.: “Doubt that the sun doth move.” He says this line “is the Copernican System in little”! It is, of course, the very opposite. _It is the Ptolemaic System in little!_ (See Sir E. Sullivan in _The Nineteenth Century_, February, 1918).

[88] _Life_, pp. 373-4. Mill remarks (_Logic_, vol. i, p. 253) that Newton’s discovery “is the greatest example which has yet occurred of the transformation, at one stroke, of a science which was still to a great degree merely experimental into a deductive science.”

[89] He appears on almost every page of Professor Dowden’s article.

[90] My italics. The manuscript has been damaged by fire (probably in 1780), the edges of the pages being much scorched and singed.

[91] See Spedding’s _Introduction_, p. xix. It is, I believe, contended by some that the word here is not “Philipp,” but as Mr. Spedding so read it when the manuscript was very much clearer than it is now, we may, I think, be content to accept his evidence, more especially as close to it, a little to the left, stands the word “Phillipp” still plain for all to read. Mr. Burgoyne, therefore, includes this letter of Sir Philip Sydney among the subjects mentioned in the supposed list of contents.

[92] The items in italics are mentioned in the list on the outside page. It will be seen that the latest date of any article of the contents is 1596. Note that six of the nine pieces are by Francis Bacon.

[93] See Spedding’s _Introduction_, p. xvi.

[94] “The Northumberland House Manuscript,” says Spedding, “is for the most part remarkably clear and correct; it is very seldom, that there can be any doubt what letter is intended, and the mistakes are very few.” See Mr. Burgoyne’s Facsimile.

[95] Mr. Dowse says that the only explanation of this entry that he has heard is that it was suggested by Bacon’s behaviour in the Essex case. I have, however, heard another, viz., that it is Bacon’s own reflection on the deceits and vanities of life.

[96] “The name of Shakespeare,” writes Mr. Spedding (p. xxv.) “is spelt in every case as it was always _printed_ in those days, _and not as he himself in any known case ever wrote it_.”

[97] “Peeps” certainly seems better than “spies,” and it has been suggested, therefore, that this gives the line as the poet first conceived it, the alteration having been made to meet the exigency of rhyme.

[98] “Bacon,” writes Mr. A. W. Pollard, “as we should expect, reckoning his year from January.” The copy in the British Museum was bought _Septimo die Februarii_ 39 E. R.

[99] This argument holds even if, as Mr. Dowse seeks to prove, the transcription was never carried out in the Northumberland volume. No penman would have noted the Essays for future copying if they were already in print.

[100] “To Algernoun, Lord Percy,” the Earl’s son and heir, whom he addresses as “My right noble Pupill and joy of my heart,” Davies writes, “The Italian hand I teach you.” Would that he could have taught it to William Shakspere of Stratford! It was in his time, says Mr. Dowse, “fast superseding the old court-hand.” It was, certainly, fast superseding the old German, or “Old English,” hand in which Shakspere wrote. And the author of _Twelfth Night_ must have known the value of that Italian hand which was at that time rapidly “winning its way in cultured society,” as Sir Sidney Lee tells us, for does not he make Malvolio say, “I think we do know the sweet Roman hand”? But Mr. Dowse does not seem to have known the meaning of the term “court-hand,” which is a technical term for the scripts employed by lawyers in drawing up charters and other legal documents, and can very seldom be described as “beautiful.”

[101] The word “bounty” indeed, as the other nouns, “Beauty,” “Bays,” etc., is printed in italics in accordance with the practice of the times. That does not, of course, imply that any extra emphasis is on the word. Mr. Dowse omits the italics in the case of the word “beauty,” but emphasises “bounty” and “compells!”

[102] I do not know what evidence there is that these initials were written by Davies himself, and were not additions made by some other hand.

[103] Mr. Dowse omits the hyphen.

[104] This parenthesis is inserted by Mr. Dowse.

[105] Spedding’s _Introduction_, p. xxv.

[106] I have dealt with this Epigram at some length in _Is there a Shakespeare Problem?_ at pp. 295, 353, and Appendix A. p. 559. So far as I know there is no evidence that Davies knew either Dick Burbage or Will Shakespere personally. On March 28, 1603, Bacon wrote to Davies asking him to use his influence with King James in the writer’s favour, and concluding with the words, “so desiring you to be good to concealed poets.” (Spedding. _Lord Bacon’s Letters and Life_, iii. 65.)

[107] Dowse pp. 4 and 10.

[108] If we were to adopt this theory we should have to put the date for the “knocking about” of the MS. even later than that assigned by Mr. Dowse, for though Overbury’s murder was discovered in 1615, Lady Somerset, as she then was, was not committed to the Tower till April, 1616, and it is not probable if _turner_ stands for Anne Turner, that that name would be written till after the trial had brought it prominently before the public.

[109] _Life of Bacon_ vol. i, p. 250-1.

[110] _Ibid._ vol. i, p. 349.

[111] We know from Archbishop Tenison’s _Remains_ that Ben Jonson was one of Bacon’s “good pens.” _Baconiana_ 1679, p. 60.

[112] See articles in the modern _Baconiana_ for July, 1904, and April, 1905, on _Bacon’s Scrivenery_.

[113] Some think the scribbler was Bacon himself, which, if true, is certainly of no little importance.

[114] John Murray, 1903.

[115] This Labeo is alluded to as a jurist of eminence in the time of Augustus by Justinian in his _Institutes_. See Sandars’s Translation (Longmans, 1869), at p. 18.