Chapter I: Front Matter

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.

BACON IS SHAKESPEARE.