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"Earth's increase, foison plenty,Barns and garners never empty;Vines with clust'ring bunches growing;Plants with goodly burthen bowing;"

there he could see the "unbacked colts" prick their ears, advance their eyelids, lift up their noses,as if they smelt music; there he knew, doubtless, many a bank where the wild thyme grew and on which the moonlight sweetly slept; there he watched the coming of "violets dim," "pale primroses," flower-de-luce, carnations, with "rosemary and rue" to keep their "savour all the winter long,"

"When icicles hang by the wall,And Dick the shepherd blows his nail,And Tom bears logs into the hall,And milk comes frozen home in pail."

Such lore as this no books or college could impart.

It was this that Milton had in mind when he introduced Shakespeare and Ben Jonson into his poem "L'Allegro." Milton was in his thirtieth year when Jonson, poet laureate, was laid to rest in Westminster Abbey; he was only a boy of eight years when Shakespeare died, but the beautiful sonnet written fourteen years later shows how lovingly he studied his works:—

"What needs my Shakespeare, for his honoured bones," etc.

The poem "L'Allegro" and its fellow "Il Penseroso" describe the delights of Milton's life at his father's country house near Windsor Castle. He used often to ride into London to hear music or pass an evening at the theatre, as in the following lines:—

"Then to the well-trod stage anon,If Jonson's learned sock be on,Or sweetest Shakespeare, fancy's child,Warble his native woodnotes wild."

This accurate and happy contrast exasperates the Baconizers, for it spoils their stock in trade, and accordingly they try their best to assure us that Milton did not know what he was writing about. They asseverate with vehemence that in all the seven-and-thirty plays there is no such thing as a native woodnote wild.

But before leaving the contrast we may pause for a moment to ask, Where did Ben Jonson get his learning? He was, as he himself tells us, "poorly brought up" by his stepfather, a bricklayer. He went to Westminster School, where he was taught by Camden, and he may have spent a short time at Cambridge, though this is doubtful. His schooling was nipped in the bud, for he had to go home and lay brick; and when he found such an existence insupportable he went into the army and fought in the Netherlands. At about the age of twenty we find him back in London, and there lose sight of him for five years, when all at once his great comedy "Every Man in his Humour" is performed, and makes him famous. Now, in such a life, when did Jonson get the time for his immense reading and his finished classical scholarship?Reasoning after the manner of the Delia-Baconians, we may safely say that he could not possibly have accumulated the learning which is shown in his plays: therefore he could not have written those plays; therefore Lord Bacon must have written them! There are daring soarers in the empyrean who do not shrink from this conclusion; a doctor in Michigan, named Owen, has published a pamphlet to prove, among other things, that Bacon was the author of the plays which were performed and printed as Jonson's.

To return to Shakespeare. Somewhere about 1585, when he was one-and-twenty, he went to London, leaving his wife and three young children at Stratford. His father had lost money, and the fortunes of the family were at the lowest ebb. In London we lose sight of Shakespeare for a while, just as we lose sight of Jonson, until literary works appear. The work first published is "Venus and Adonis," one of the most exquisite pieces of diction in the English language. It was dedicated to Henry, Earl of Southampton, by William Shakespeare, whose authorship of the poem is asserted as distinctly as the title-page of "David Copperfield" proclaims that novel to be by Charles Dickens, yet some precious critics assure us that Shakespeare "could not" have written the poem, and neverknew the Earl of Southampton. Some years ago, Mr. Appleton Morgan, who does not wish to be regarded as a Baconizer, published an essay on the Warwickshire dialect, in which he maintained that since no traces of that kind of speech occur in "Venus and Adonis," therefore it could not have been written by a young man fresh from a small Warwickshire town. This is a specimen of the loose kind of criticism which prepares soil for Delia-Baconian weeds to grow in. The poem was published in 1593, seven or eight years after Shakespeare's coming to London; and we are asked to believe that the world's greatest genius, one of the most consummate masters of speech that ever lived, could tarry seven years in the city without learning how to write what Hosea Biglow calls "citified English"! One can only exclaim with Gloster, "O monstrous fault, to harbour such a thought!"

In those years Shakespeare surely learned much else. It seems clear that he had a good reading acquaintance with French and Italian, though he often uses translations, as for instance Florio's version of Montaigne. In estimating what Shakespeare "must have" known or "could not have" known, one needs to use more caution than some of our critics display. For example, in "TheWinter's Tale" the statue of Hermione is called "a piece ... now newly performed by that rare Italian master, Julio Romano." Now, since Romano is known as a great painter, but not as a sculptor, this has been cited as a blunder on Shakespeare's part. It appears, however, that the first edition of Vasari's "Lives of the Painters," published in 1550 and never translated from its original Italian, informs us that Romano did work in sculpture. In Vasari's second edition, published in 1568 and translated into several languages, this information is not given. From these facts, the erudite German critic Dr. Karl Elze, who is not a bit of a Delia-Baconian, but only an occasional sufferer fromvesania commentatorum, introduces us to a solemn dilemma: either the author of "The Winter's Tale" must have consulted the first edition of Vasari in the original Italian, or else he must have travelled in Italy and gazed upon statues by Romano. Ah! prithee not so fast, worthy doctor; be not so lavish with these "musts." It is, I think, improbable that Shakespeare ever saw Italy except with the eyes of his imperial fancy. On the other hand, there are many indications that he could read Italian, but among them we cannot attach much importance to this one. Why should he not have learned fromhearsaythat Romano had made statues? In the name of common sense, are there no sources of knowledge save books? Or, since it was no unusual thing for Italian painters in the sixteenth century to excel in sculpture and architecture, why should not Shakespeare have assumed without verification that it was so in Romano's case? It was a tolerably safe assumption to make, especially in an age utterly careless of historical accuracy, and in a comedy which provides Bohemia with a sea-coast, and mixes up times and customs with as scant heed of probability as a fairy tale.

In arguing about what Shakespeare "must have" or "could not have" known, we must not forget that at no time or place since history began has human thought fermented more briskly than in London while he was living there. The age of Drake and Raleigh was an age of efflorescence in dramatic poetry, such as had not been seen in the twenty centuries since Euripides died. Among Shakespeare's fellow craftsmen were writers of such great and varied endowments as Chapman, Marlowe, Greene, Nash, Peele, Marston, Dekker, Webster, and Cyril Tourneur. During his earlier years in London, Richard Hooker was master of the Middle Temple, and there a little later Ford and Beaumont were studying. The erudite Camdenwas master of Westminster School; among the lights of the age for legal learning were Edward Coke and Francis Bacon; at the same time, one might have met in London the learned architect Inigo Jones and the learned poet John Donne, both of them excellent classical scholars; there one would have found the divine poet Edmund Spenser, just come over from Ireland to see to the publication of his "Faerie Queene;" not long afterward came John Fletcher from Cambridge, and the acute philosopher Edward Herbert from Oxford and one and all might listen to the incomparable table-talk of that giant of scholarship, John Selden. The delights of the Mermaid Tavern, where these rare wits were wont to assemble, still live in tradition. As Keats says:—

"Souls of poets dead and gone,What Elysium have ye known,Happy field or mossy cavern,Choicer than the Mermaid Tavern?"

It has always been believed that this place was one of Shakespeare's favourite haunts. By common consent of scholars, it has been accepted as the scene of those contests of wit between Shakespeare and Jonson of which Fuller tells us when he compares Jonson to a Spanish galleon, built high with learning, but slow in movement, whilehe likens Shakespeare to an English cruiser, less heavily weighted, but apt for victory because of its nimbleness,—the same kind of contrast, by the way, as that which occurred to Milton.

But our Baconizing friends will not allow that Shakespeare ever went to the Mermaid, or knew the people who met there; at least, none but a few fellow dramatists. We have no documentary proof that he ever met with Raleigh, or Bacon, or Selden. Let us observe that, while these sapient critics are in some cases ready to welcome the slightest circumstantial evidence, there are others in which they will accept nothing short of absolute demonstration. Did Shakespeare ever see a maypole? The word occurs just once in his plays, namely, in the "Midsummer Night's Dream," where little Hermia, quarrelling with tall Helena, calls her a "painted maypole;" but that proves nothing. I am not aware that there is any absolute documentary proof that Shakespeare ever set eyes on a maypole. It is nevertheless certain that in England, at that time, no boy could grow to manhood without seeing many a maypole. Common sense has some rights which we are bound to respect.

Now, Shakespeare's London was a small city of from 150,000 to 200,000 souls, or about the size of Providence or Minneapolis at the present time.In cities of such size, everybody of the slightest eminence is known all over town, and such persons are sure to be more or less acquainted with one another; it is a very rare exception when it is not so. Before his thirtieth year, Shakespeare was well known in London as an actor, a writer of plays, and the manager of a prominent theatre. It was in that year that Spenser, in his "Colin Clout's Come Home Again," alluding to Shakespeare under the name of Aëtion, or "eagle-like," paid him this compliment:—

"And there, though last, not least, is Aëtion;A gentler shepherd may nowhere be found;Whose muse, full of high thought's invention,Doth, like himself, heroically sound."

Four years after this, in 1598, Francis Meres published his book entitled "Palladis Tamia," a very interesting contribution to literary history. The author, who had been an instructor in rhetoric in the University of Oxford, was then living in London, near the Globe Theatre. In this book Meres tells his readers that "the sweet witty soul of Ovid lives in mellifluous and honey-tongued Shakespeare; witness his 'Venus and Adonis,' his 'Lucrece,' his sugared sonnets among his private friends, etc.... As Plautus and Seneca are accounted the best for comedy and tragedy among the Latins, so Shakespeareamong the English is the most excellent in both kinds for the stage: for comedy, witness his 'Gentlemen of Verona,' his 'Errors,' his 'Love's Labour's Lost,' his 'Love's Labour's Wonne,'[38]his 'Midsummer Night's Dream,' and his 'Merchant of Venice;' for tragedy, his 'Richard II.,' 'Richard III.,' 'Henry IV.,' 'King John,' 'Titus Andronicus,' and his 'Romeo and Juliet.' As Epius Stolo said that the Muses would speak with Plautus's tongue if they would speak Latin, so I say that the Muses would speak with Shakespeare's fine filed phrase if they would speak English." In other passages Meres mentions Shakespeare's lyrical quality, for which he likens him to Pindar and Catullus; and the glory of his style, for which he places him along with Virgil and Homer. It thus appears that, at the age of thirty-four, this poet from Stratford was already ranked by critical scholars by the side of the greatest names of antiquity. Let me add that the popularity of his plays was making him a somewhat wealthy man, so that he had relieved his father from pecuniary troubles, and had just bought for himself the Great House at Stratford where the last years of his life were spent. His income seems already to have been equivalent to $10,000 a year in our modern money. His positionhad come to be such that he could extend patronage to others. It was in 1598 that through his influence Ben Jonson obtained, after many rebuffs, his first hearing before a London audience, when "Every Man in his Humour" was brought out at Blackfriars Theatre, with Shakespeare acting one of the parts.

To suppose that such a man as this, in a town the size of Minneapolis, connected with a principal theatre, writer of the most popular plays of the day, a poet whom men were already coupling with Homer and Pindar,—to suppose that such a man was not known to all the educated people in the town is simply absurd. There were probably very few men, women, or children in London, between 1595 and 1610, who did not know who Shakespeare was when he passed them in the street; and as for such wits as drank ale and sack at the Mermaid, as for Raleigh and Bacon and Selden and the rest, to suppose that Shakespeare did not know them well—nay, to suppose that he was not the leading spirit and brightest wit of those ambrosial nights—is about as sensible as to suppose that he never saw a maypole.

The facts thus far contemplated point to one conclusion. The son of a well-to-do magistrate in a small country town is born with a genius whichthe world has never seen surpassed. Coming to London at the age of twenty-one, he achieves such swift success that within thirteen years he is recognized as one of the chief glories of English literature. During this time he is living in the midst of such a period of intellectual ferment as the world has seldom seen, and in a position which necessarily brings him into frequent contact with all the most cultivated men. Under such circumstances, there is nothing in the smallest degree strange or surprising in his acquiring the varied knowledge which his plays exhibit. The major premise of the Delia-Baconians has, therefore, nothing in it whatever. It is a mere bubble, an empty vagary,—only this, and nothing more.

Before leaving this part of the subject, however, there are still one or two points of interest to be mentioned. Shakespeare shows a fondness for the use of phrases and illustrations taken from the law; and on such grounds our Delia-Baconians argue that the plays must have been written by an eminent lawyer, such as the Lord Chancellor Bacon undoubtedly was. They feel that this is a great point on their side. One instance, cited by Nathaniel Holmes and other Baconizers, is the celebrated case of Sir James Hales, who committed suicide by drowning, and was accordingly buriedat the junction of crossroads, with a stake through his body, while all his property was forfeited to the Crown. Presently his widow brought suit for an estate by survivorship in joint-tenancy. Her case turned upon the question whether the forfeiture occurred during her late husband's lifetime: if it did, he left no estate which she could take; if it did not, she took the estate by survivorship. The lady's counsel argued that so long as Sir James was alive he had not been guilty of suicide, and the instant he died the estate vested in his widow as joint-tenant. But the opposing counsel argued that the instant Sir James voluntarily made the fatal plunge, and therefore before the breath had left his body, the guilt of suicide was incurred and the forfeiture took place. The court decided in favour of this view, and the widow got nothing.

There can be little doubt that this decision is travestied in the conversation of the two clowns in "Hamlet" with regard to Ophelia's right to Christian burial. The first clown makes precisely the point upon which the ingenious counsel for the defendant had rested his argument: "If I drown myself wittingly, it argues an act, and an act hath three branches; it is to act, to do, and to perform." In making this distinction the counsel had maintained that the second branch, or the doing, wasthe only thing for the law to consider. The talk of the clowns brings out the humour of the case with Shakespeare's inimitable lightness of touch.

The report of the Hales case was published in the volume of "Plowden's Reports" which was issued in 1578; and Mr. Holmes informs us that "there is not the slightest ground for a belief, on the facts which we know, that Shakespeare ever looked into 'Plowden's Reports.'" This is one of the cases where your stern Baconizer will not hear of anything short of absolute demonstration. Mere considerations of human probability might disturb the cogency of a neat little pair of syllogisms:—

(1.) The author of "Hamlet" must have read Plowden. Shakespeare never read Plowden. Therefore Shakespeare was not the author of "Hamlet."

(2.) The author of "Hamlet" must have read Plowden. The lawyer, Bacon, must have read Plowden. Therefore Bacon wrote "Hamlet."

With regard to the major premise here, one might freely deny it. The author of "Hamlet" might easily have got all the knowledge involved from an evening chat with some legal friend at an alehouse. Then as to the minor premise, what earthly improbability is there in Shakespeare's having dipped into Plowden? Can anybody but lawyers orlaw students enjoy reading reports of law cases? I remember that, when I was about ten years old, a favourite book with me was one entitled "Criminal Trials of All Countries, by a Member of the Philadelphia Bar." I read it and read it, until forbidden to read such a gruesome book, and then I read it all the more. One of the most elaborate reports in it was that of the famous case of Captain Donellan, tried in 1780 on a charge of poisoning his wife's brother, Sir Theodosius Boughton, a dissipated and diseased young man, who died very suddenly one day. A post-mortem inspection showed spots in the intestine, which three ordinary country doctors ascribed to poisoning by laurel water, while Sir John Hunter, one of the greatest authorities in Europe, testified that they might equally well have ensued upon death from apoplexy. The judge, Sir Francis Buller, saw fit, in his charge, to reckon this as the testimony of three experts against one; and thus the jury were driven to a verdict of murder, though it was not proved that any murder had been committed. Captain Donellan, who lived in his brother-in-law's house, was a man of blameless life, an amateur chemist, much given to fooling with odorous liquids and hissing retorts. It was proved that he had been distilling laurel water, and one or two other suspiciouscircumstances were alleged. The whole trial was begun and ended on the same day, the jury were about twenty minutes in finding the captain guilty, and three days afterward he was hung. It was a case where reason was submerged and drowned under a wave of angry prejudice shrieking for a victim.

Now, if I did not forthwith write a play, and take the occasion to ridicule the judge's charge to the jury, it was because I could not write a play, not because I did not fully appreciate the insult to law and common sense which that unfortunate case involved. In view of this and other experiences, when I now read a play or a novel that contains an intelligent allusion to some law case, I am far from feeling driven to the conclusion that it must have been written by a lord chancellor.

If Shakespeare's dramas are proved by such internal evidence to have been written by a lawyer, that lawyer, by parity of reasoning, could hardly have been Francis Bacon. For he was preëminently a chancery lawyer, and chancery phrases are in Shakespeare conspicuously absent. The word "injunctions" occurs five times in the plays, once perhaps with a reference to its legal use ("Merchant of Venice," II. ix.); but nowhere do we find any exhibition of a knowledge of chancerylaw. His allusions to the common law are often very amusing, as when, in "Love's Labour's Lost," at the end of a brisk punning-match between Boyet and Maria, he offers to kiss her, laughingly asking for a grant of pasture on her lips, and she replies, "Not so; my lips are no common, though several they be." Again, in "The Comedy of Errors," "Dromio asserts that there is no time for a bald man to recover his hair. This having been written, the law phrase suggested itself, and he was asked whether he might not do it by fine and recovery, and this suggested the efficiency of that proceeding to bar heirs; and this started the conceit that thus the lost hair of another man would be recovered."[39]In such quaint allusions to the common law and its proceedings Shakespeare abounds, and we cannot help remembering that Nash, in his prefatory epistle to Greene's "Menaphon," printed about 1589, makes sneering mention of Shakespeare as a man who had left the "trade of Noverint," whereunto he was born, in order to try his hand at tragedy. The "trade of Noverint" was a slang expression for the business of attorney; and this passage has suggested that Shakespeare may have spent some time in a law office, as student or as clerk, either before leaving Stratford, orperhaps soon after his arrival in London. This seems to me not improbable. On the other hand, "The Merchant of Venice" contains such crazy law that it is hard to imagine it coming even from a lawyer's clerk. At all events, we may safely say that the legal knowledge exhibited in the plays is no more than might readily have been acquired by a man of assimilative genius associating with lawyers. It simply shows the range and accuracy of Shakespeare's powers of observation.

Let us come now to the second part of the Delia Bacon theory. Having satisfied herself that William Shakespeare could not have written the poems and plays published under his name, she jumped to the conclusion that Francis Bacon was the author. Surely, a singular choice! Of all men, why Francis Bacon?[40]Why not, as I said before, George Chapman or Ben Jonson, men who were at once learned scholars and great poets? Chapman, like Marlowe, could write the "mighty line." Jonson had rare lyric power; his verses sing, as witness the wonderful "Do but look on her eyes," which Francis Bacon could no more have written than he could have jumped over the moon. Topitch upon Bacon as the writer of "Twelfth Night" or "Romeo and Juliet" is about as sensible as to assert that "David Copperfield" must have been written by Charles Darwin. After a familiar acquaintance of more than forty years with Shakespeare's works, of nearly forty years with Bacon's, the two men impress me as simply antipodal one to the other. A similar feeling was entertained by the late Mr. Spedding, the biographer and editor of Bacon; and no one has more happily hit off the vagaries of the Baconizers than the foremost Bacon scholar now living, Dr. Kuno Fischer, in his recent address before the Shakespeare Society at Weimar.[41]I used to wonder whether the Bacon-Shakespeare people really knew anything about Bacon, and, now that chance has led me to read their books, I am quite sure they do not. To their minds, his works are simply a storehouse of texts which serve them for controversial missiles, very much as scattered texts from the Bible used to serve our uncritical grandfathers.

Francis Bacon was one of the most interesting persons of his time, and, as is often the case with such many-sided characters, posterity has held various opinions about him. On the one hand, his fame has grown brighter with the years; on theother hand, it has come to be more or less circumscribed and limited. Pope's famous verse, "The wisest, brightest, meanest of mankind," may be disputed in all its three specifications. Bacon's treatment of Essex, which formerly called forth such bitter condemnation, has been, I think, completely justified; and as for the taking of bribes, which led to his disgrace, there were circumstances which ought largely to mitigate the severity of our judgment. But if Bacon was far from being a mean example of human nature, it is surely an exaggeration to call him the wisest and brightest of mankind. He was a scholar and critic of vast accomplishments, a writer of noble English prose, and a philosopher who represented rather than inaugurated a most beneficial revolution in the aims and methods of scientific inquiry. He is one of the real glories of English literature, but he is also one of the most overrated men of modern times. When we find Macaulay saying that Bacon had "the most exquisitely constructed intellect that has ever been bestowed on any of the children of men," we need not be surprised to find that his elaborate essay on Bacon is as false in its fundamental conception as it is inaccurate in details. For a long time it was one of the accepted commonplaces that Bacon inaugurated the method bywhich modern discoveries in physical science have been made. Early in the present century, such writers on the history of science as Whewell began to show the incorrectness of this notion, and it was completely exploded by Stanley Jevons in his "Principles of Science," the most profound treatise on method that has appeared in the last fifty years. Jevons writes: "It is wholly a mistake to say that modern science is the result of the Baconian philosophy; it is the Newtonian philosophy and the Newtonian method which have led to all the great triumphs of physical science, and ... the 'Principia' forms the true Novum Organon." This statement of Jevons is thoroughly sound. The great Harvey, who knew how scientific discoveries are made, said with gentle sarcasm that Bacon "wrote philosophy like a lord chancellor;" yet Harvey would not have denied that the chancellor was doing noble service as the eloquent expounder of many sides of the scientific movement that was then gathering strength. Bacons mind was eminently sagacious and fertile in suggestions, but the supreme creative faculty, the power to lead men into new paths, was precisely the thing which he did not possess. His place is a very high one among intellects of the second order; but to rank him with such godlike spirits as Newton, Spinoza,and Leibnitz simply shows that one has no real knowledge of the work which such men have done.

So much for Bacon himself. With regard to him as possible author of the Shakespeare poems and plays, it is difficult to imagine so learned a scholar making the kind of mistakes that abound in those writings. Bacon would hardly have introduced clocks into the Rome of Julius Cæsar; nor would he have made Hector quote Aristotle, nor Hamlet study at the University of Wittenberg, founded five hundred years after Hamlet's time; nor would he have put pistols into the age of Henry IV., nor cannon into the age of King John; and we may be pretty sure that he would not have made one of the characters in "King Lear" talk about Turks and Bedlam. In this severely realistic age of ours, writers are more on their guard against such anachronisms than they were in Shakespeare's time; in his works we cannot call them serious blemishes, for they do not affect the artistic character of the plays, but they are certainly such mistakes as a scholar like Bacon would not have committed.

Deeper down lies the contrast involved in the fact that Bacon was in a high degree a subjective writer, from whom you are perpetually getting revelations of his idiosyncrasies and moods, whereasof all writers in the world Shakespeare is the most completely objective, the most absorbed in the work of creation. In the one writer you are always reminded of the man Bacon; in the other the personality is never thrust into sight. Bacon is highly self-conscious; from Shakespeare self-consciousness is absent.

The contrast is equally great in respect of humour. I would not deny that Bacon relished a joke, or could perpetrate a pun; but the bubbling, seething, frolicsome, irrepressible drollery of Shakespeare is something quite foreign to him. Read his essays, and you get charming English, wide knowledge, deep thought, keen observation, worldly wisdom, good humour, sweet serenity; but exuberant fun is not there. In writing these essays Bacon was following an example set by Montaigne, but, as contrasted with the delicate effervescent humour of the Frenchman, his style seems sober and almost insipid. Only fancy such a man trying to write "The Merry Wives of Windsor"!

Both Shakespeare and Bacon were sturdy and rapacious purloiners. They seized upon other men's bright thoughts and made them their own without compunction and without acknowledgment; and this may account for sundry similarities which may be culled from the plays and from Bacon's works,upon which Baconizing text-mongers are wont to lay great stress as proof of common authorship. Some such resemblances may be due to borrowing from common sources; others are doubtless purely fanciful; others indicate either that Shakespeare cribbed from Bacon orvice versa. Here are a few miscellaneous instances:—

Where Bacon says, "Be so true to thyself as thou be not false to others" ("Essay of Wisdom"), Shakespeare says:—

"To thine own self be true,And it must follow, as the night the day,Thou canst not then be false to any man."(Hamlet, I. iii.)

"To thine own self be true,And it must follow, as the night the day,Thou canst not then be false to any man."

(Hamlet, I. iii.)

This looks as if one writer might have copied from the other. If so, it is Bacon who is the thief, for the lines occur in the quarto "Hamlet" published in 1603, whereas the "Essay of Wisdom" was first published in 1612.

Again, where Bacon, in the "Essay of Gardens," says, "The breath of flowers comes and goes like the warbling of music," it reminds one strongly of the exquisite passage in "Twelfth Night" where the Duke exclaims:—

"That strain again! it had a dying fall:O, it came o'er my ear like the sweet south,That breathes upon a bank of violets,Stealing and giving odour."

I have little doubt that Bacon had this passage in mind when he wrote the "Essay of Gardens," which was first published in 1625, two years later than the complete folio of Shakespeare. This effectually disposes of the attempt to cite these correspondences in evidence that Bacon wrote the plays.

Another instance is from "Richard III.:"—

"By a divine instinct men's minds mistrustEnsuing danger; as, by proof, we seeThe waters swell before a boisterous storm."

Bacon, in the "Essay of Sedition," writes, "As there are ... secret swellings of seas before a tempest, so there are in states." But this essay was not published till 1625, so again we find him copying Shakespeare. Many such "parallelisms," cited to prove that Bacon wrote Shakespeare's works, do really prove that he read them with great care and remembered them well, or else took notes from them.

An interesting illustration of the helpless ignorance shown by Baconizers is furnished by a remark of Sir Toby Belch in "Twelfth Night." In his instructions to that dear old simpleton, Sir Andrew Aguecheek, about the challenge, Sir Toby observes, "If thou thou'st him some thrice, it shall not be amiss." In Elizabethan English, to addressa man as "thou" was to treat him as socially inferior; such familiarity was allowable only between members of the same family or in speaking to servants, just as you address your wife, and likewise the cook and housemaid, by their Christian names, while with the ladies of your acquaintance such familiarity would be rudeness. The same rule for the pronoun survives to-day in French and German, but has been forgotten in English. In the trial of Sir Walter Raleigh in 1604, Justice Coke insulted the prisoner by calling out, "Thou viper! for Ithouthee, thou traitor!" Now, one of our Baconizers thinks that his idol, in writing "Twelfth Night," introduced Sir Toby's suggestion in order to recall to the audience Coke's abusive remark. Once more, a little attention to dates would have prevented the making of a bad blunder. We know from Manningham's Diary that "Twelfth Night" had been on the stage nearly two years before Raleigh's trial. On the other hand, to say that the play might have suggested to Coke his coarse speech would be admissible, but idle, inasmuch as the expression "tothoua man" was an every-day phrase in that age.

Here it naturally occurs to me to mention the "Promus," about which as much fuss has been made as if it really furnished evidence in supportof the Baconian folly. There is in the British Museum a manuscript, in Bacon's handwriting, entitled "Promus of Formularies and Elegancies." "Promus" means "storehouse" or "treasury." A date at the top of the first page shows that it was begun in December, 1594; there is nothing, I believe, to show over how many years it extended. It is a scrap-book in which Bacon jotted down such sentences, words, and phrases as struck his fancy, such as might be utilized in his writings. These neatly turned phrases, these "formularies and elegancies," are gathered from all quarters,—from the Bible, from Virgil and Horace, from Ovid and Seneca, from Erasmus, from collections of proverbs in various languages, etc. As there is apparently nothing original in this scrap-bag, Mr. Spedding did not think it worth while to include it in his edition of Bacon's works, but in the fourteenth volume he gives a sufficient description of it, with illustrative extracts. In 1883 Mrs. Henry Pott published the whole of this "Promus" manuscript, and swelled it by comments and dissertations into a volume of 600 octavo pages. She had found in it several hundred expressions which reminded her of passages in Shakespeare, and so it confirmed her in the opinion which she already entertained that Bacon was the author of Shakespeare'sworks. Thus, when the "Promus" has a verse from Ovid, which means, "And the forced tongue begins to lisp the sound commanded," it reminds Mrs. Pott of divers lines in which Shakespeare uses the word "lisp," as for example, in "As You Like It," "you lisp and wear strange suits;" and she jumps to the conclusion that when Bacon jotted down the verse from Ovid, it was as a preparatory study toward "As You Like It," and any other play that contains the word "lisp:" therefore Bacon wrote all those plays,Q. E. D.! On the next page we find Virgil's remark, "Thus was I wont to compare great things with small," made the father of Falstaff's "base comparisons," and Fluellen's "Macedon and Monmouth," as well as honest Dogberry's "comparisons are odorous." When one reads such things, evidently printed in all seriousness, one feels like asking Mrs. Pott, in the apt words of Shakespeare's friend Fletcher, "What mare's nest hast thou found?" ("Bonduca," V. ii.)

There are many phrases, however, in the "Promus" which undoubtedly agree with phrases in the plays. They show that Bacon heard or read the plays with great interest, and culled from them his "elegancies" with no stinted hand. As for Mrs. Pott's bulky volume, it brings us so near to the finalreductio ad absurdumof the Bacon theory that we hardly need spend many words upon the gross improbabilities which that theory involves. The plays of Shakespeare were universally ascribed to him by his contemporaries; many of them were published during his lifetime with his name upon the title-page as the author; all were collected and published together by Hemminge and Condell, two of his fellow actors, seven years after his death; and for more than two centuries nobody ever dreamed of looking for a different authorship, or of associating the plays with Bacon. But this Chimborazo ofprima facieevidence becomes a mere mole-hill in the hands of your valiant Baconizer. It is all clear to him. Bacon did not acknowledge the authorship of these works because such literature was deemed frivolous, and current prejudices against theatres and playwrights might injure his hopes of advancement at the bar and in political life. Therefore, by some sort of private understanding with the ignorant and sordid wretch Shakespeare,[42]at whose theatre they were brought out, their authorship was ascribed to him, the real author died without revealing the secret, and the whole world was deceived until the days of Delia Bacon.

But there are questions which even this ingenious hypothesis fails to answer. Why should Bacon have taken the time to write those thirty-seven plays, two poems, and one hundred and fifty-four sonnets, if they were never to be known as his works? Not for money, surely, for that grasping Shakespeare seems to have got the money as well as the fame; Bacon died a poor man. His principal aim in life was to construct a new system of philosophy; on this noble undertaking he spent such time as he could save from the exactions of his public career as member of Parliament, chancery lawyer, solicitor-general, attorney-general, lord chancellor; and he died with this work far from finished. The volumes which he left behind him were only fragments of the mighty structure which he had planned. We may well ask, Where did this overburdened writer find the time for doing work of another kind voluminous enough to fill a lifetime, and what motive had he for doing it without recompense in either fame or money? Baconizers find it strange that Shakespeare's will contains no reference to his plays as literary property. The omission is certainly interesting, since it seems to indicate that he had parted with his pecuniary interest in them,—had perhaps sold it out to the Globe Theatre. If this omission can be held toshow that Shakespeare was lacking in fondness for the productions of his own genius, what shall be said of the notion that Bacon spent half his life in writing works the paternity of which he must forever disown?

This question is answered by Mr. Ignatius Donnelly, a writer who speculates with equal infelicity on all subjects, but never suffers for lack of boldness. He published in 1887 a book even bigger than that of Mrs. Pott, for it has nearly 1000 pages. Its title is, "The Great Cryptogram," and its thesis is, that Bacon really did claim the authorship of the Shakespeare plays. Only the claim was made in a cipher, and if you simply make some numbers mean some words, and other words mean other numbers, and perform a good many sums in what the Mock Turtle called "ambition, distraction, uglification, and derision," you will be able to read this claim between the lines, along with much other wonderful information. Thus does the arithmetical Donnelly carry us quite a long stride nearer to thereductio ad absurdum, or suicide point, than we were left by Mrs. Pott, with her lisping and limping comparisons.

But before we come to the jumping-off place, let us pause for a moment and take a retrospective glance at the natural history of the Bacon-Shakespearecraze. What was it that first unlocked the sluice-gates, and poured forth such a deluge of foolishness upon a sorely suffering world? It will hardly do to lay the blame upon poor Delia Bacon. Her suggestions would have borne no fruit had they not found a public, albeit a narrow one, in some degree prepared for them. Who, then, prepared the soil for the seeds of this idiocy to take root? Who but the race of fond and foolish Shakespeare commentators, with their absurd claims for their idol? During the eighteenth century Shakespeare was generally underrated. Voltaire wondered how a nation that possessed such a noble tragedy as Addison's "Cato" could endure such plays as "Hamlet" and "Othello." In the days of Scott and Burns a reaction set in; and Shakespeare worship reached its height when the Germans took it up, and, not satisfied with calling him the prince of poets and peerless master of dramatic art, began to discover in his works all sorts of hidden philosophy and impossible knowledge. Of the average German mind Lowell good-naturedly says that "it finds its keenest pleasure in divining a profound significance in the most trifling things, and the number of mare's nests that have been stared into by the GermanGelehrterthrough his spectacles passes calculation."[43]But the Germans are not the only sinners; let me cite an instance from near home. In the quarto "Hamlet" of 1603 we read:—

"Full forty years are past, their date is gone,Since happy time joined both our hearts as one:And now the blood that filled my youthful veinsRuns weakly in their pipes," etc.

Whereupon Mr. Edward Vining calls upon us to observe how Shakespeare, "to whom all human knowledge seems to be but a matter of instinct, in [these lines] asserts the circulation of the blood in the veins and 'pipes,' a truth which Harvey probably did not even suspect until at least thirteen years later," etc.[44]Does Mr. Vining really suppose that what Harvey did was to discover that blood runs in our veins? A little further study of history would have taught him that even the ancients knew that blood runs in the veins.[45]About fourteen hundred years before "Hamlet" was written, Galen proved that it also runs in thearteries. After Galen's time, it was believed that the dark blood nourishes such plebeian organs as the liver, while the bright blood nourishes such lordly organs as the brain, and that the interchange takes place in the heart; until the sixteenth century, when Vesalius proved that the interchange does not take place in the heart, and the martyr Servetus proved that it does take place in the lungs; and so on till 1619, when Harvey discovered that dark blood is brought by the veins to the right side of the heart, and thence driven into the lungs, where it becomes bright and flows into the left side of the heart, thence to be propelled throughout the body in the arteries. That it then grows dark and returns through the veins Harvey believed, but no one could tell how, until, forty years later, Malpighi with his microscope detected the capillaries. Now to talk about Shakespeare discerning as if by instinct a truth which Harvey afterward discovered is simply silly. Instead of showing rare scientific knowledge, his remark about blood running in the veins is one that anybody might have made.

This is a fair specimen of the ignorant way in which doting commentators have built up an impossible Shakespeare, until at last they have provoked a reaction. Sooner or later the questionwas sure to arise, Where did your Stratford boy get all this abstruse scientific knowledge? The keynote was perhaps first sounded by August von Schlegel, who persuaded himself that Shakespeare had mastered "all the things and relations of this world," and then went on to declare that the accepted account of his life must be a mere fable. Thus we reach the point from which Delia Bacon started.

It may safely be said that all theories of Shakespeare's plays which suppose them to be attempts at teaching occult philosophical doctrines, or which endow them with any other meanings than those which their words directly and plainly convey, are a delusion and a snare. Those plays were written, not to teach philosophy, but to fill the theatre and make money. They were written by a practised actor and manager, the most consummate master of dramatic effects that ever lived; a poet unsurpassed for fertility of invention, unequalled for melody of language, unapproached for delicacy of fancy, inexhaustible in humour, profoundest of moralists; a man who knew human nature by intuition, as Mozart knew counterpoint or as Chopin knew harmony. The name of that writer was none other than William Shakespeare of Stratford-on-Avon.

It was inevitable that the Bacon folly, after once adopting such methods as those of Mrs. Pott and Mr. Donnelly, should proceed to commit suicide by piling up extravagances. By such methods one can prove anything, and accordingly we find these writers busy in tracing Bacon's hand in the writings of Greene, Marlowe, Shirley, Marston, Massinger, Middleton, and Webster. They are sure that he was the author of Montaigne's Essays, which were afterward translated into what we have always supposed to be the French original. Mr. Donnelly believes that Bacon also wrote Burton's "Anatomy of Melancholy." Next comes Dr. Orville Owen with a new cipher, which proves that Bacon was the son of Queen Elizabeth by Robert Dudley, and that he was the author of the "Faerie Queene" and other poems attributed to Edmund Spenser. Finally we have Mr. J. E. Roe, who does not mean to be outdone. He asks us what we are to think of the notion that an ignorant tinker, like John Bunyan, could have written the most perfect allegory in any language. Perish the thought! Nobody but Bacon could have done it. Of course Bacon had been more than fifty years in his grave when "Pilgrim's Progress" was published as Bunyan's. But your true Baconizer is never stopped by trifles. Mr. Roe assures us thatBacon wrote that heavenly book, as well as "Robinson Crusoe" and the "Tale of a Tub;" which surely begins to make him seem ubiquitous and everlasting. If things go on at this rate, we shall presently have a religious sect holding as its first article of faith that Francis Bacon created the heavens and the earth in six days, and rested on the seventh day.

November, 1896.

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