Showing posts with label Southampton. Show all posts
Showing posts with label Southampton. Show all posts

Thursday 21 July 2016

Venus and Adonis


"But I hope Truth is subject to no prescription, for Truth is Truth though never so old, and time cannot make that false which was once True." 

Edward de Vere, 17th Earl of Oxford
Private Letter to Lord Salisbury, Sir Robert Cecil
May 7, 1603


Venus and Adonis

'Vilia miretur vulgus; mihi flavus Apollo
Pocula Castalia plena ministret aqua.'
TO THE
RIGHT HONORABLE HENRY WRIOTHESLY,
EARL OF SOUTHAMPTON, AND BARON OF TICHFIELD.
RIGHT HONORABLE,
I KNOW not how I shall offend in dedicating my unpolished lines to your lordship, nor how the world will censure me for choosing so strong a prop to support so weak a burden only, if your honour seem but pleased, I account myself highly praised, and vow to take advantage of all idle hours, till I have honoured you with some graver labour. But if the first heir of my invention prove deformed, I shall be sorry it had so noble a god-father, and never after ear so barren a land, for fear it yield me still so bad a harvest. I leave it to your honourable survey, and your honour to your heart's content; which I wish may always answer your own wish and the world's hopeful expectation.

Your honour's in all duty,
WILLIAM SHAKESPEARE.


EVEN as the sun with purple-colour'd face
Had ta'en his last leave of the weeping morn,
Rose-cheek'd Adonis hied him to the chase;
Hunting he loved, but love he laugh'd to scorn;
Sick-thoughted Venus makes amain unto him,
And like a bold-faced suitor 'gins to woo him.
'Thrice-fairer than myself,' thus she began,
'The field's chief flower, sweet above compare,
Stain to all nymphs, more lovely than a man,
More white and red than doves or roses are;
Nature that made thee, with herself at strife,
Saith that the world hath ending with thy life.
'Vouchsafe, thou wonder, to alight thy steed,
And rein his proud head to the saddle-bow;
If thou wilt deign this favour, for thy meed
A thousand honey secrets shalt thou know:
Here come and sit, where never serpent hisses,
And being set, I'll smother thee with kisses;
'And yet not cloy thy lips with loathed satiety,
But rather famish them amid their plenty,
Making them red and pale with fresh variety,
Ten kisses short as one, one long as twenty:
A summer's day will seem an hour but short,
Being wasted in such time-beguiling sport.'
With this she seizeth on his sweating palm,
The precedent of pith and livelihood,
And trembling in her passion, calls it balm,
Earth's sovereign salve to do a goddess good:
Being so enraged, desire doth lend her force
Courageously to pluck him from his horse.
Over one arm the lusty courser's rein,
Under her other was the tender boy,
Who blush'd and pouted in a dull disdain,
With leaden appetite, unapt to toy;
She red and hot as coals of glowing fire,
He red for shame, but frosty in desire.
The studded bridle on a ragged bough
Nimbly she fastens:--O, how quick is love!--
The steed is stalled up, and even now
To tie the rider she begins to prove:
Backward she push'd him, as she would be thrust,
And govern'd him in strength, though not in lust.
So soon was she along as he was down,
Each leaning on their elbows and their hips:
Now doth she stroke his cheek, now doth he frown,
And 'gins to chide, but soon she stops his lips;
And kissing speaks, with lustful language broken,
'If thou wilt chide, thy lips shall never open.'
He burns with bashful shame: she with her tears
Doth quench the maiden burning of his cheeks;
Then with her windy sighs and golden hairs
To fan and blow them dry again she seeks:
He saith she is immodest, blames her 'miss;
What follows more she murders with a kiss.
Even as an empty eagle, sharp by fast,
Tires with her beak on feathers, flesh and bone,
Shaking her wings, devouring all in haste,
Till either gorge be stuff'd or prey be gone;
Even so she kissed his brow, his cheek, his chin,
And where she ends she doth anew begin.
Forced to content, but never to obey,
Panting he lies and breatheth in her face;
She feedeth on the steam as on a prey,
And calls it heavenly moisture, air of grace;
Wishing her cheeks were gardens full of flowers,
So they were dew'd with such distilling showers.
Look, how a bird lies tangled in a net,
So fasten'd in her arms Adonis lies;
Pure shame and awed resistance made him fret,
Which bred more beauty in his angry eyes:
Rain added to a river that is rank
Perforce will force it overflow the bank.
Still she entreats, and prettily entreats,
For to a pretty ear she tunes her tale;
Still is he sullen, still he lours and frets,
'Twixt crimson shame and anger ashy-pale:
Being red, she loves him best; and being white,
Her best is better'd with a more delight.
Look how he can, she cannot choose but love;
And by her fair immortal hand she swears,
From his soft bosom never to remove,
Till he take truce with her contending tears,
Which long have rain'd, making her cheeks all wet;
And one sweet kiss shall pay this countless debt.
Upon this promise did he raise his chin,
Like a dive-dapper peering through a wave,
Who, being look'd on, ducks as quickly in;
So offers he to give what she did crave;
But when her lips were ready for his pay,
He winks, and turns his lips another way.
Never did passenger in summer's heat
More thirst for drink than she for this good turn.
Her help she sees, but help she cannot get;
She bathes in water, yet her fire must burn:
'O, pity,' 'gan she cry, 'flint-hearted boy!
'Tis but a kiss I beg; why art thou coy?
'I have been woo'd, as I entreat thee now,
Even by the stern and direful god of war,
Whose sinewy neck in battle ne'er did bow,
Who conquers where he comes in every jar;
Yet hath he been my captive and my slave,
And begg'd for that which thou unask'd shalt have.
'Over my altars hath he hung his lance,
His batter'd shield, his uncontrolled crest,
And for my sake hath learn'd to sport and dance,
To toy, to wanton, dally, smile and jest,
Scorning his churlish drum and ensign red,
Making my arms his field, his tent my bed.
'Thus he that overruled I oversway'd,
Leading him prisoner in a red-rose chain:
Strong-tempered steel his stronger strength obey'd,
Yet was he servile to my coy disdain.
O, be not proud, nor brag not of thy might,
For mastering her that foil'd the god of fight!
'Touch but my lips with those fair lips of thine,--
Though mine be not so fair, yet are they red--
The kiss shall be thine own as well as mine.
What seest thou in the ground? hold up thy head:
Look in mine eye-balls, there thy beauty lies;
Then why not lips on lips, since eyes in eyes?
'Art thou ashamed to kiss? then wink again,
And I will wink; so shall the day seem night;
Love keeps his revels where they are but twain;
Be bold to play, our sport is not in sight:
These blue-vein'd violets whereon we lean
Never can blab, nor know not what we mean.
'The tender spring upon thy tempting lip
Shows thee unripe; yet mayst thou well be tasted:
Make use of time, let not advantage slip;
Beauty within itself should not be wasted:
Fair flowers that are not gather'd in their prime
Rot and consume themselves in little time.
'Were I hard-favour'd, foul, or wrinkled-old,
Ill-nurtured, crooked, churlish, harsh in voice,
O'erworn, despised, rheumatic and cold,
Thick-sighted, barren, lean and lacking juice,
Then mightst thou pause, for then I were not for thee
But having no defects, why dost abhor me?
'Thou canst not see one wrinkle in my brow;
Mine eyes are gray and bright and quick in turning:
My beauty as the spring doth yearly grow,
My flesh is soft and plump, my marrow burning;
My smooth moist hand, were it with thy hand felt,
Would in thy palm dissolve, or seem to melt.
'Bid me discourse, I will enchant thine ear,
Or, like a fairy, trip upon the green,
Or, like a nymph, with long dishevell'd hair,
Dance on the sands, and yet no footing seen:
Love is a spirit all compact of fire,
Not gross to sink, but light, and will aspire.
'Witness this primrose bank whereon I lie;
These forceless flowers like sturdy trees support me;
Two strengthless doves will draw me through the sky,
From morn till night, even where I list to sport me:
Is love so light, sweet boy, and may it be
That thou shouldst think it heavy unto thee?
'Is thine own heart to thine own face affected?
Can thy right hand seize love upon thy left?
Then woo thyself, be of thyself rejected,
Steal thine own freedom and complain on theft.
Narcissus so himself himself forsook,
And died to kiss his shadow in the brook.
'Torches are made to light, jewels to wear,
Dainties to taste, fresh beauty for the use,
Herbs for their smell, and sappy plants to bear:
Things growing to themselves are growth's abuse:
Seeds spring from seeds and beauty breedeth beauty;
Thou wast begot; to get it is thy duty.
'Upon the earth's increase why shouldst thou feed,
Unless the earth with thy increase be fed?
By law of nature thou art bound to breed,
That thine may live when thou thyself art dead;
And so, in spite of death, thou dost survive,
In that thy likeness still is left alive.'
By this the love-sick queen began to sweat,
For where they lay the shadow had forsook them,
And Titan, tired in the mid-day heat,
With burning eye did hotly overlook them;
Wishing Adonis had his team to guide,
So he were like him and by Venus' side.
And now Adonis, with a lazy spright,
And with a heavy, dark, disliking eye,
His louring brows o'erwhelming his fair sight,
Like misty vapours when they blot the sky,
Souring his cheeks cries 'Fie, no more of love!
The sun doth burn my face: I must remove.'
'Ay me,' quoth Venus, 'young, and so unkind?
What bare excuses makest thou to be gone!
I'll sigh celestial breath, whose gentle wind
Shall cool the heat of this descending sun:
I'll make a shadow for thee of my hairs;
If they burn too, I'll quench them with my tears.
'The sun that shines from heaven shines but warm,
And, lo, I lie between that sun and thee:
The heat I have from thence doth little harm,
Thine eye darts forth the fire that burneth me;
And were I not immortal, life were done
Between this heavenly and earthly sun.
'Art thou obdurate, flinty, hard as steel,
Nay, more than flint, for stone at rain relenteth?
Art thou a woman's son, and canst not feel
What 'tis to love? how want of love tormenteth?
O, had thy mother borne so hard a mind,
She had not brought forth thee, but died unkind.
'What am I, that thou shouldst contemn me this?
Or what great danger dwells upon my suit?
What were thy lips the worse for one poor kiss?
Speak, fair; but speak fair words, or else be mute:
Give me one kiss, I'll give it thee again,
And one for interest, if thou wilt have twain.
'Fie, lifeless picture, cold and senseless stone,
Well-painted idol, image dun and dead,
Statue contenting but the eye alone,
Thing like a man, but of no woman bred!
Thou art no man, though of a man's complexion,
For men will kiss even by their own direction.'
This said, impatience chokes her pleading tongue,
And swelling passion doth provoke a pause;
Red cheeks and fiery eyes blaze forth he wrong;
Being judge in love, she cannot right her cause:
And now she weeps, and now she fain would speak,
And now her sobs do her intendments break.
Sometimes she shakes her head and then his hand,
Now gazeth she on him, now on the ground;
Sometimes her arms infold him like a band:
She would, he will not in her arms be bound;
And when from thence he struggles to be gone,
She locks her lily fingers one in one.
'Fondling,' she saith, 'since I have hemm'd thee here
Within the circuit of this ivory pale,
I'll be a park, and thou shalt be my deer;
Feed where thou wilt, on mountain or in dale:
Graze on my lips; and if those hills be dry,
Stray lower, where the pleasant fountains lie.
Within this limit is relief enough,
Sweet bottom-grass and high delightful plain,
Round rising hillocks, brakes obscure and rough,
To shelter thee from tempest and from rain
Then be my deer, since I am such a park;
No dog shall rouse thee, though a thousand bark.'
At this Adonis smiles as in disdain,
That in each cheek appears a pretty dimple:
Love made those hollows, if himself were slain,
He might be buried in a tomb so simple;
Foreknowing well, if there he came to lie,
Why, there Love lived and there he could not die.
These lovely caves, these round enchanting pits,
Open'd their mouths to swallow Venus' liking.
Being mad before, how doth she now for wits?
Struck dead at first, what needs a second striking?
Poor queen of love, in thine own law forlorn,
To love a cheek that smiles at thee in scorn!
Now which way shall she turn? what shall she say?
Her words are done, her woes are more increasing;
The time is spent, her object will away,
And from her twining arms doth urge releasing.
'Pity,' she cries, 'some favour, some remorse!'
Away he springs and hasteth to his horse.
But, lo, from forth a copse that neighbors by,
A breeding jennet, lusty, young and proud,
Adonis' trampling courser doth espy,
And forth she rushes, snorts and neighs aloud:
The strong-neck'd steed, being tied unto a tree,
Breaketh his rein, and to her straight goes he.
Imperiously he leaps, he neighs, he bounds,
And now his woven girths he breaks asunder;
The bearing earth with his hard hoof he wounds,
Whose hollow womb resounds like heaven's thunder;
The iron bit he crusheth 'tween his teeth,
Controlling what he was controlled with.
His ears up-prick'd; his braided hanging mane
Upon his compass'd crest now stand on end;
His nostrils drink the air, and forth again,
As from a furnace, vapours doth he send:
His eye, which scornfully glisters like fire,
Shows his hot courage and his high desire.
Sometime he trots, as if he told the steps,
With gentle majesty and modest pride;
Anon he rears upright, curvets and leaps,
As who should say 'Lo, thus my strength is tried,
And this I do to captivate the eye
Of the fair breeder that is standing by.'
What recketh he his rider's angry stir,
His flattering 'Holla,' or his 'Stand, I say'?
What cares he now for curb or pricking spur?
For rich caparisons or trapping gay?
He sees his love, and nothing else he sees,
For nothing else with his proud sight agrees.
Look, when a painter would surpass the life,
In limning out a well-proportion'd steed,
His art with nature's workmanship at strife,
As if the dead the living should exceed;
So did this horse excel a common one
In shape, in courage, colour, pace and bone.
Round-hoof'd, short-jointed, fetlocks shag and long,
Broad breast, full eye, small head and nostril wide,
High crest, short ears, straight legs and passing strong,
Thin mane, thick tail, broad buttock, tender hide:
Look, what a horse should have he did not lack,
Save a proud rider on so proud a back.
Sometime he scuds far off and there he stares;
Anon he starts at stirring of a feather;
To bid the wind a base he now prepares,
And whether he run or fly they know not whether;
For through his mane and tail the high wind sings,
Fanning the hairs, who wave like feather'd wings.
He looks upon his love and neighs unto her;
She answers him as if she knew his mind:
Being proud, as females are, to see him woo her,
She puts on outward strangeness, seems unkind,
Spurns at his love and scorns the heat he feels,
Beating his kind embracements with her heels.
Then, like a melancholy malcontent,
He veils his tail that, like a falling plume,
Cool shadow to his melting buttock lent:
He stamps and bites the poor flies in his fume.
His love, perceiving how he is enraged,
Grew kinder, and his fury was assuaged.
His testy master goeth about to take him;
When, lo, the unback'd breeder, full of fear,
Jealous of catching, swiftly doth forsake him,
With her the horse, and left Adonis there:
As they were mad, unto the wood they hie them,
Out-stripping crows that strive to over-fly them.
All swoln with chafing, down Adonis sits,
Banning his boisterous and unruly beast:
And now the happy season once more fits,
That love-sick Love by pleading may be blest;
For lovers say, the heart hath treble wrong
When it is barr'd the aidance of the tongue.
An oven that is stopp'd, or river stay'd,
Burneth more hotly, swelleth with more rage:
So of concealed sorrow may be said;
Free vent of words love's fire doth assuage;
But when the heart's attorney once is mute,
The client breaks, as desperate in his suit.
He sees her coming, and begins to glow,
Even as a dying coal revives with wind,
And with his bonnet hides his angry brow;
Looks on the dull earth with disturbed mind,
Taking no notice that she is so nigh,
For all askance he holds her in his eye.
O, what a sight it was, wistly to view
How she came stealing to the wayward boy!
To note the fighting conflict of her hue,
How white and red each other did destroy!
But now her cheek was pale, and by and by
It flash'd forth fire, as lightning from the sky.
Now was she just before him as he sat,
And like a lowly lover down she kneels;
With one fair hand she heaveth up his hat,
Her other tender hand his fair cheek feels:
His tenderer cheek receives her soft hand's print,
As apt as new-fall'n snow takes any dint.
O, what a war of looks was then between them!
Her eyes petitioners to his eyes suing;
His eyes saw her eyes as they had not seen them;
Her eyes woo'd still, his eyes disdain'd the wooing:
And all this dumb play had his acts made plain
With tears, which, chorus-like, her eyes did rain.
Full gently now she takes him by the hand,
A lily prison'd in a gaol of snow,
Or ivory in an alabaster band;
So white a friend engirts so white a foe:
This beauteous combat, wilful and unwilling,
Show'd like two silver doves that sit a-billing.
Once more the engine of her thoughts began:
'O fairest mover on this mortal round,
Would thou wert as I am, and I a man,
My heart all whole as thine, thy heart my wound;
For one sweet look thy help I would assure thee,
Though nothing but my body's bane would cure thee!
'Give me my hand,' saith he, 'why dost thou feel it?'
'Give me my heart,' saith she, 'and thou shalt have it:
O, give it me, lest thy hard heart do steel it,
And being steel'd, soft sighs can never grave it:
Then love's deep groans I never shall regard,
Because Adonis' heart hath made mine hard.'
'For shame,' he cries, 'let go, and let me go;
My day's delight is past, my horse is gone,
And 'tis your fault I am bereft him so:
I pray you hence, and leave me here alone;
For all my mind, my thought, my busy care,
Is how to get my palfrey from the mare.'
Thus she replies: 'Thy palfrey, as he should,
Welcomes the warm approach of sweet desire:
Affection is a coal that must be cool'd;
Else, suffer'd, it will set the heart on fire:
The sea hath bounds, but deep desire hath none;
Therefore no marvel though thy horse be gone.
'How like a jade he stood, tied to the tree,
Servilely master'd with a leathern rein!
But when he saw his love, his youth's fair fee,
He held such petty bondage in disdain;
Throwing the base thong from his bending crest,
Enfranchising his mouth, his back, his breast.
'Who sees his true-love in her naked bed,
Teaching the sheets a whiter hue than white,
But, when his glutton eye so full hath fed,
His other agents aim at like delight?
Who is so faint, that dare not be so bold
To touch the fire, the weather being cold?
'Let me excuse thy courser, gentle boy;
And learn of him, I heartily beseech thee,
To take advantage on presented joy;
Though I were dumb, yet his proceedings teach thee;
O, learn to love; the lesson is but plain,
And once made perfect, never lost again.'
I know not love,' quoth he, 'nor will not know it,
Unless it be a boar, and then I chase it;
'Tis much to borrow, and I will not owe it;
My love to love is love but to disgrace it;
For I have heard it is a life in death,
That laughs and weeps, and all but with a breath.
'Who wears a garment shapeless and unfinish'd?
Who plucks the bud before one leaf put forth?
If springing things be any jot diminish'd,
They wither in their prime, prove nothing worth:
The colt that's back'd and burden'd being young
Loseth his pride and never waxeth strong.
'You hurt my hand with wringing; let us part,
And leave this idle theme, this bootless chat:
Remove your siege from my unyielding heart;
To love's alarms it will not ope the gate:
Dismiss your vows, your feigned tears, your flattery;
For where a heart is hard they make no battery.'
'What! canst thou talk?' quoth she, 'hast thou a tongue?
O, would thou hadst not, or I had no hearing!
Thy mermaid's voice hath done me double wrong;
I had my load before, now press'd with bearing:
Melodious discord, heavenly tune harshsounding,
Ear's deep-sweet music, and heart's deep-sore wounding.
'Had I no eyes but ears, my ears would love
That inward beauty and invisible;
Or were I deaf, thy outward parts would move
Each part in me that were but sensible:
Though neither eyes nor ears, to hear nor see,
Yet should I be in love by touching thee.
'Say, that the sense of feeling were bereft me,
And that I could not see, nor hear, nor touch,
And nothing but the very smell were left me,
Yet would my love to thee be still as much;
For from the stillitory of thy face excelling
Comes breath perfumed that breedeth love by
smelling.
'But, O, what banquet wert thou to the taste,
Being nurse and feeder of the other four!
Would they not wish the feast might ever last,
And bid Suspicion double-lock the door,
Lest Jealousy, that sour unwelcome guest,
Should, by his stealing in, disturb the feast?'
Once more the ruby-colour'd portal open'd,
Which to his speech did honey passage yield;
Like a red morn, that ever yet betoken'd
Wreck to the seaman, tempest to the field,
Sorrow to shepherds, woe unto the birds,
Gusts and foul flaws to herdmen and to herds.
This ill presage advisedly she marketh:
Even as the wind is hush'd before it raineth,
Or as the wolf doth grin before he barketh,
Or as the berry breaks before it staineth,
Or like the deadly bullet of a gun,
His meaning struck her ere his words begun.
And at his look she flatly falleth down,
For looks kill love and love by looks reviveth;
A smile recures the wounding of a frown;
But blessed bankrupt, that by love so thriveth!
The silly boy, believing she is dead,
Claps her pale cheek, till clapping makes it red;
And all amazed brake off his late intent,
For sharply he did think to reprehend her,
Which cunning love did wittily prevent:
Fair fall the wit that can so well defend her!
For on the grass she lies as she were slain,
Till his breath breatheth life in her again.
He wrings her nose, he strikes her on the cheeks,
He bends her fingers, holds her pulses hard,
He chafes her lips; a thousand ways he seeks
To mend the hurt that his unkindness marr'd:
He kisses her; and she, by her good will,
Will never rise, so he will kiss her still.
The night of sorrow now is turn'd to day:
Her two blue windows faintly she up-heaveth,
Like the fair sun, when in his fresh array
He cheers the morn and all the earth relieveth;
And as the bright sun glorifies the sky,
So is her face illumined with her eye;
Whose beams upon his hairless face are fix'd,
As if from thence they borrow'd all their shine.
Were never four such lamps together mix'd,
Had not his clouded with his brow's repine;
But hers, which through the crystal tears gave light,
Shone like the moon in water seen by night.
'O, where am I?' quoth she, 'in earth or heaven,
Or in the ocean drench'd, or in the fire?
What hour is this? or morn or weary even?
Do I delight to die, or life desire?
But now I lived, and life was death's annoy;
But now I died, and death was lively joy.
'O, thou didst kill me: kill me once again:
Thy eyes' shrewd tutor, that hard heart of thine,
Hath taught them scornful tricks and such disdain
That they have murder'd this poor heart of mine;
And these mine eyes, true leaders to their queen,
But for thy piteous lips no more had seen.
'Long may they kiss each other, for this cure!
O, never let their crimson liveries wear!
And as they last, their verdure still endure,
To drive infection from the dangerous year!
That the star-gazers, having writ on death,
May say, the plague is banish'd by thy breath.
'Pure lips, sweet seals in my soft lips imprinted,
What bargains may I make, still to be sealing?
To sell myself I can be well contented,
So thou wilt buy and pay and use good dealing;
Which purchase if thou make, for fear of slips
Set thy seal-manual on my wax-red lips.
'A thousand kisses buys my heart from me;
And pay them at thy leisure, one by one.
What is ten hundred touches unto thee?
Are they not quickly told and quickly gone?
Say, for non-payment that the debt should double,
Is twenty hundred kisses such a trouble?
'Fair queen,' quoth he, 'if any love you owe me,
Measure my strangeness with my unripe years:
Before I know myself, seek not to know me;
No fisher but the ungrown fry forbears:
The mellow plum doth fall, the green sticks fast,
Or being early pluck'd is sour to taste.
'Look, the world's comforter, with weary gait,
His day's hot task hath ended in the west;
The owl, night's herald, shrieks, ''Tis very late;'
The sheep are gone to fold, birds to their nest,
And coal-black clouds that shadow heaven's light
Do summon us to part and bid good night.
'Now let me say 'Good night,' and so say you;
If you will say so, you shall have a kiss.'
'Good night,' quoth she, and, ere he says 'Adieu,'
The honey fee of parting tender'd is:
Her arms do lend his neck a sweet embrace;
Incorporate then they seem; face grows to face.
Till, breathless, he disjoin'd, and backward drew
The heavenly moisture, that sweet coral mouth,
Whose precious taste her thirsty lips well knew,
Whereon they surfeit, yet complain on drouth:
He with her plenty press'd, she faint with dearth
Their lips together glued, fall to the earth.
Now quick desire hath caught the yielding prey,
And glutton-like she feeds, yet never filleth;
Her lips are conquerors, his lips obey,
Paying what ransom the insulter willeth;
Whose vulture thought doth pitch the price so high,
That she will draw his lips' rich treasure dry:
And having felt the sweetness of the spoil,
With blindfold fury she begins to forage;
Her face doth reek and smoke, her blood doth boil,
And careless lust stirs up a desperate courage,
Planting oblivion, beating reason back,
Forgetting shame's pure blush and honour's wrack.
Hot, faint, and weary, with her hard embracing,
Like a wild bird being tamed with too much handling,
Or as the fleet-foot roe that's tired with chasing,
Or like the froward infant still'd with dandling,
He now obeys, and now no more resisteth,
While she takes all she can, not all she listeth.
What wax so frozen but dissolves with tempering,
And yields at last to every light impression?
Things out of hope are compass'd oft with venturing,
Chiefly in love, whose leave exceeds commission:
Affection faints not like a pale-faced coward,
But then woos best when most his choice is froward.
When he did frown, O, had she then gave over,
Such nectar from his lips she had not suck'd.
Foul words and frowns must not repel a lover;
What though the rose have prickles, yet 'tis pluck'd:
Were beauty under twenty locks kept fast,
Yet love breaks through and picks them all at last.
For pity now she can no more detain him;
The poor fool prays her that he may depart:
She is resolved no longer to restrain him;
Bids him farewell, and look well to her heart,
The which, by Cupid's bow she doth protest,
He carries thence incaged in his breast.
'Sweet boy,' she says, 'this night I'll waste in sorrow,
For my sick heart commands mine eyes to watch.
Tell me, Love's master, shall we meet to-morrow?
Say, shall we? shall we? wilt thou make the match?'
He tells her, no; to-morrow he intends
To hunt the boar with certain of his friends.
'The boar!' quoth she; whereat a sudden pale,
Like lawn being spread upon the blushing rose,
Usurps her cheek; she trembles at his tale,
And on his neck her yoking arms she throws:
She sinketh down, still hanging by his neck,
He on her belly falls, she on her back.
Now is she in the very lists of love,
Her champion mounted for the hot encounter:
All is imaginary she doth prove,
He will not manage her, although he mount her;
That worse than Tantalus' is her annoy,
To clip Elysium and to lack her joy.
Even as poor birds, deceived with painted grapes,
Do surfeit by the eye and pine the maw,
Even so she languisheth in her mishaps,
As those poor birds that helpless berries saw.
The warm effects which she in him finds missing
She seeks to kindle with continual kissing.
But all in vain; good queen, it will not be:
She hath assay'd as much as may be proved;
Her pleading hath deserved a greater fee;
She's Love, she loves, and yet she is not loved.
'Fie, fie,' he says, 'you crush me; let me go;
You have no reason to withhold me so.'
'Thou hadst been gone,' quoth she, 'sweet boy, ere this,
But that thou told'st me thou wouldst hunt the boar.
O, be advised! thou know'st not what it is
With javelin's point a churlish swine to gore,
Whose tushes never sheathed he whetteth still,
Like to a mortal butcher bent to kill.
'On his bow-back he hath a battle set
Of bristly pikes, that ever threat his foes;
His eyes, like glow-worms, shine when he doth fret;
His snout digs sepulchres where'er he goes;
Being moved, he strikes whate'er is in his way,
And whom he strikes his cruel tushes slay.
'His brawny sides, with hairy bristles arm'd,
Are better proof than thy spear's point can enter;
His short thick neck cannot be easily harm'd;
Being ireful, on the lion he will venture:
The thorny brambles and embracing bushes,
As fearful of him, part, through whom he rushes.
'Alas, he nought esteems that face of thine,
To which Love's eyes pay tributary gazes;
Nor thy soft hands, sweet lips and crystal eyne,
Whose full perfection all the world amazes;
But having thee at vantage,--wondrous dread!--
Would root these beauties as he roots the mead.
'O, let him keep his loathsome cabin still;
Beauty hath nought to do with such foul fiends:
Come not within his danger by thy will;
They that thrive well take counsel of their friends.
When thou didst name the boar, not to dissemble,
I fear'd thy fortune, and my joints did tremble.
'Didst thou not mark my face? was it not white?
Saw'st thou not signs of fear lurk in mine eye?
Grew I not faint? and fell I not downright?
Within my bosom, whereon thou dost lie,
My boding heart pants, beats, and takes no rest,
But, like an earthquake, shakes thee on my breast.
'For where Love reigns, disturbing Jealousy
Doth call himself Affection's sentinel;
Gives false alarms, suggesteth mutiny,
And in a peaceful hour doth cry 'Kill, kill!'
Distempering gentle Love in his desire,
As air and water do abate the fire.
'This sour informer, this bate-breeding spy,
This canker that eats up Love's tender spring,
This carry-tale, dissentious Jealousy,
That sometime true news, sometime false doth bring,
Knocks at my heat and whispers in mine ear
That if I love thee, I thy death should fear:
'And more than so, presenteth to mine eye
The picture of an angry-chafing boar,
Under whose sharp fangs on his back doth lie
An image like thyself, all stain'd with gore;
Whose blood upon the fresh flowers being shed
Doth make them droop with grief and hang the head.
'What should I do, seeing thee so indeed,
That tremble at the imagination?
The thought of it doth make my faint heart bleed,
And fear doth teach it divination:
I prophesy thy death, my living sorrow,
If thou encounter with the boar to-morrow.
'But if thou needs wilt hunt, be ruled by me;
Uncouple at the timorous flying hare,
Or at the fox which lives by subtlety,
Or at the roe which no encounter dare:
Pursue these fearful creatures o'er the downs,
And on thy well-breath'd horse keep with thy
hounds.
'And when thou hast on foot the purblind hare,
Mark the poor wretch, to overshoot his troubles
How he outruns the wind and with what care
He cranks and crosses with a thousand doubles:
The many musets through the which he goes
Are like a labyrinth to amaze his foes.
'Sometime he runs among a flock of sheep,
To make the cunning hounds mistake their smell,
And sometime where earth-delving conies keep,
To stop the loud pursuers in their yell,
And sometime sorteth with a herd of deer:
Danger deviseth shifts; wit waits on fear:
'For there his smell with others being mingled,
The hot scent-snuffing hounds are driven to doubt,
Ceasing their clamorous cry till they have singled
With much ado the cold fault cleanly out;
Then do they spend their mouths: Echo replies,
As if another chase were in the skies.
'By this, poor Wat, far off upon a hill,
Stands on his hinder legs with listening ear,
To harken if his foes pursue him still:
Anon their loud alarums he doth hear;
And now his grief may be compared well
To one sore sick that hears the passing-bell.
'Then shalt thou see the dew-bedabbled wretch
Turn, and return, indenting with the way;
Each envious brier his weary legs doth scratch,
Each shadow makes him stop, each murmur stay:
For misery is trodden on by many,
And being low never relieved by any.
'Lie quietly, and hear a little more;
Nay, do not struggle, for thou shalt not rise:
To make thee hate the hunting of the boar,
Unlike myself thou hear'st me moralize,
Applying this to that, and so to so;
For love can comment upon every woe.
'Where did I leave?' 'No matter where,' quoth he,
'Leave me, and then the story aptly ends:
The night is spent.' 'Why, what of that?' quoth she.
'I am,' quoth he, 'expected of my friends;
And now 'tis dark, and going I shall fall.'
'In night,' quoth she, 'desire sees best of all
'But if thou fall, O, then imagine this,
The earth, in love with thee, thy footing trips,
And all is but to rob thee of a kiss.
Rich preys make true men thieves; so do thy lips
Make modest Dian cloudy and forlorn,
Lest she should steal a kiss and die forsworn.
'Now of this dark night I perceive the reason:
Cynthia for shame obscures her silver shine,
Till forging Nature be condemn'd of treason,
For stealing moulds from heaven that were divine;
Wherein she framed thee in high heaven's despite,
To shame the sun by day and her by night.
'And therefore hath she bribed the Destinies
To cross the curious workmanship of nature,
To mingle beauty with infirmities,
And pure perfection with impure defeature,
Making it subject to the tyranny
Of mad mischances and much misery;
'As burning fevers, agues pale and faint,
Life-poisoning pestilence and frenzies wood,
The marrow-eating sickness, whose attaint
Disorder breeds by heating of the blood:
Surfeits, imposthumes, grief, and damn'd despair,
Swear nature's death for framing thee so fair.
'And not the least of all these maladies
But in one minute's fight brings beauty under:
Both favour, savour, hue and qualities,
Whereat the impartial gazer late did wonder,
Are on the sudden wasted, thaw'd and done,
As mountain-snow melts with the midday sun.
'Therefore, despite of fruitless chastity,
Love-lacking vestals and self-loving nuns,
That on the earth would breed a scarcity
And barren dearth of daughters and of sons,
Be prodigal: the lamp that burns by night
Dries up his oil to lend the world his light.
'What is thy body but a swallowing grave,
Seeming to bury that posterity
Which by the rights of time thou needs must have,
If thou destroy them not in dark obscurity?
If so, the world will hold thee in disdain,
Sith in thy pride so fair a hope is slain.
'So in thyself thyself art made away;
A mischief worse than civil home-bred strife,
Or theirs whose desperate hands themselves do slay,
Or butcher-sire that reaves his son of life.
Foul-cankering rust the hidden treasure frets,
But gold that's put to use more gold begets.'
'Nay, then,' quoth Adon, 'you will fall again
Into your idle over-handled theme:
The kiss I gave you is bestow'd in vain,
And all in vain you strive against the stream;
For, by this black-faced night, desire's foul nurse,
Your treatise makes me like you worse and worse.
'If love have lent you twenty thousand tongues,
And every tongue more moving than your own,
Bewitching like the wanton mermaid's songs,
Yet from mine ear the tempting tune is blown
For know, my heart stands armed in mine ear,
And will not let a false sound enter there;
'Lest the deceiving harmony should run
Into the quiet closure of my breast;
And then my little heart were quite undone,
In his bedchamber to be barr'd of rest.
No, lady, no; my heart longs not to groan,
But soundly sleeps, while now it sleeps alone.
'What have you urged that I cannot reprove?
The path is smooth that leadeth on to danger:
I hate not love, but your device in love,
That lends embracements unto every stranger.
You do it for increase: O strange excuse,
When reason is the bawd to lust's abuse!
'Call it not love, for Love to heaven is fled,
Since sweating Lust on earth usurp'd his name;
Under whose simple semblance he hath fed
Upon fresh beauty, blotting it with blame;
Which the hot tyrant stains and soon bereaves,
As caterpillars do the tender leaves.
'Love comforteth like sunshine after rain,
But Lust's effect is tempest after sun;
Love's gentle spring doth always fresh remain,
Lust's winter comes ere summer half be done;
Love surfeits not, Lust like a glutton dies;
Love is all truth, Lust full of forged lies.
'More I could tell, but more I dare not say;
The text is old, the orator too green.
Therefore, in sadness, now I will away;
My face is full of shame, my heart of teen:
Mine ears, that to your wanton talk attended,
Do burn themselves for having so offended.'
With this, he breaketh from the sweet embrace,
Of those fair arms which bound him to her breast,
And homeward through the dark laund runs apace;
Leaves Love upon her back deeply distress'd.
Look, how a bright star shooteth from the sky,
So glides he in the night from Venus' eye.
Which after him she darts, as one on shore
Gazing upon a late-embarked friend,
Till the wild waves will have him seen no more,
Whose ridges with the meeting clouds contend:
So did the merciless and pitchy night
Fold in the object that did feed her sight.
Whereat amazed, as one that unaware
Hath dropp'd a precious jewel in the flood,
Or stonish'd as night-wanderers often are,
Their light blown out in some mistrustful wood,
Even so confounded in the dark she lay,
Having lost the fair discovery of her way.
And now she beats her heart, whereat it groans,
That all the neighbour caves, as seeming troubled,
Make verbal repetition of her moans;
Passion on passion deeply is redoubled:
'Ay me!' she cries, and twenty times 'Woe, woe!'
And twenty echoes twenty times cry so.
She marking them begins a wailing note
And sings extemporally a woeful ditty;
How love makes young men thrall and old men dote;
How love is wise in folly, foolish-witty:
Her heavy anthem still concludes in woe,
And still the choir of echoes answer so.
Her song was tedious and outwore the night,
For lovers' hours are long, though seeming short:
If pleased themselves, others, they think, delight
In such-like circumstance, with suchlike sport:
Their copious stories oftentimes begun
End without audience and are never done.
For who hath she to spend the night withal
But idle sounds resembling parasites,
Like shrill-tongued tapsters answering every call,
Soothing the humour of fantastic wits?
She says ''Tis so:' they answer all ''Tis so;'
And would say after her, if she said 'No.'
Lo, here the gentle lark, weary of rest,
From his moist cabinet mounts up on high,
And wakes the morning, from whose silver breast
The sun ariseth in his majesty;
Who doth the world so gloriously behold
That cedar-tops and hills seem burnish'd gold.
Venus salutes him with this fair good-morrow:
'O thou clear god, and patron of all light,
From whom each lamp and shining star doth borrow
The beauteous influence that makes him bright,
There lives a son that suck'd an earthly mother,
May lend thee light, as thou dost lend to other.'
This said, she hasteth to a myrtle grove,
Musing the morning is so much o'erworn,
And yet she hears no tidings of her love:
She hearkens for his hounds and for his horn:
Anon she hears them chant it lustily,
And all in haste she coasteth to the cry.
And as she runs, the bushes in the way
Some catch her by the neck, some kiss her face,
Some twine about her thigh to make her stay:
She wildly breaketh from their strict embrace,
Like a milch doe, whose swelling dugs do ache,
Hasting to feed her fawn hid in some brake.
By this, she hears the hounds are at a bay;
Whereat she starts, like one that spies an adder
Wreathed up in fatal folds just in his way,
The fear whereof doth make him shake and shudder;
Even so the timorous yelping of the hounds
Appals her senses and her spirit confounds.
For now she knows it is no gentle chase,
But the blunt boar, rough bear, or lion proud,
Because the cry remaineth in one place,
Where fearfully the dogs exclaim aloud:
Finding their enemy to be so curst,
They all strain courtesy who shall cope him first.
This dismal cry rings sadly in her ear,
Through which it enters to surprise her heart;
Who, overcome by doubt and bloodless fear,
With cold-pale weakness numbs each feeling part:
Like soldiers, when their captain once doth yield,
They basely fly and dare not stay the field.
Thus stands she in a trembling ecstasy;
Till, cheering up her senses all dismay'd,
She tells them 'tis a causeless fantasy,
And childish error, that they are afraid;
Bids them leave quaking, bids them fear no more:--
And with that word she spied the hunted boar,
Whose frothy mouth, bepainted all with red,
Like milk and blood being mingled both together,
A second fear through all her sinews spread,
Which madly hurries her she knows not whither:
This way runs, and now she will no further,
But back retires to rate the boar for murther.
A thousand spleens bear her a thousand ways;
She treads the path that she untreads again;
Her more than haste is mated with delays,
Like the proceedings of a drunken brain,
Full of respects, yet nought at all respecting;
In hand with all things, nought at all effecting.
Here kennell'd in a brake she finds a hound,
And asks the weary caitiff for his master,
And there another licking of his wound,
'Gainst venom'd sores the only sovereign plaster;
And here she meets another sadly scowling,
To whom she speaks, and he replies with howling.
When he hath ceased his ill-resounding noise,
Another flap-mouth'd mourner, black and grim,
Against the welkin volleys out his voice;
Another and another answer him,
Clapping their proud tails to the ground below,
Shaking their scratch'd ears, bleeding as they go.
Look, how the world's poor people are amazed
At apparitions, signs and prodigies,
Whereon with fearful eyes they long have gazed,
Infusing them with dreadful prophecies;
So she at these sad signs draws up her breath
And sighing it again, exclaims on Death.
'Hard-favour'd tyrant, ugly, meagre, lean,
Hateful divorce of love,'--thus chides she Death,--
'Grim-grinning ghost, earth's worm, what dost thou mean
To stifle beauty and to steal his breath,
Who when he lived, his breath and beauty set
Gloss on the rose, smell to the violet?
'If he be dead,--O no, it cannot be,
Seeing his beauty, thou shouldst strike at it:--
O yes, it may; thou hast no eyes to see,
But hatefully at random dost thou hit.
Thy mark is feeble age, but thy false dart
Mistakes that aim and cleaves an infant's heart.
'Hadst thou but bid beware, then he had spoke,
And, hearing him, thy power had lost his power.
The Destinies will curse thee for this stroke;
They bid thee crop a weed, thou pluck'st a flower:
Love's golden arrow at him should have fled,
And not Death's ebon dart, to strike dead.
'Dost thou drink tears, that thou provokest such weeping?
What may a heavy groan advantage thee?
Why hast thou cast into eternal sleeping
Those eyes that taught all other eyes to see?
Now Nature cares not for thy mortal vigour,
Since her best work is ruin'd with thy rigour.'
Here overcome, as one full of despair,
She vail'd her eyelids, who, like sluices, stopt
The crystal tide that from her two cheeks fair
In the sweet channel of her bosom dropt;
But through the flood-gates breaks the silver rain,
And with his strong course opens them again.
O, how her eyes and tears did lend and borrow!
Her eyes seen in the tears, tears in her eye;
Both crystals, where they view'd each other's sorrow,
Sorrow that friendly sighs sought still to dry;
But like a stormy day, now wind, now rain,
Sighs dry her cheeks, tears make them wet again.
Variable passions throng her constant woe,
As striving who should best become her grief;
All entertain'd, each passion labours so,
That every present sorrow seemeth chief,
But none is best: then join they all together,
Like many clouds consulting for foul weather.
By this, far off she hears some huntsman hollo;
A nurse's song ne'er pleased her babe so well:
The dire imagination she did follow
This sound of hope doth labour to expel;
For now reviving joy bids her rejoice,
And flatters her it is Adonis' voice.
Whereat her tears began to turn their tide,
Being prison'd in her eye like pearls in glass;
Yet sometimes falls an orient drop beside,
Which her cheek melts, as scorning it should pass,
To wash the foul face of the sluttish ground,
Who is but drunken when she seemeth drown'd.
O hard-believing love, how strange it seems
Not to believe, and yet too credulous!
Thy weal and woe are both of them extremes;
Despair and hope makes thee ridiculous:
The one doth flatter thee in thoughts unlikely,
In likely thoughts the other kills thee quickly.
Now she unweaves the web that she hath wrought;
Adonis lives, and Death is not to blame;
It was not she that call'd him, all-to naught:
Now she adds honours to his hateful name;
She clepes him king of graves and grave for kings,
Imperious supreme of all mortal things.
'No, no,' quoth she, 'sweet Death, I did but jest;
Yet pardon me I felt a kind of fear
When as I met the boar, that bloody beast,
Which knows no pity, but is still severe;
Then, gentle shadow,--truth I must confess,--
I rail'd on thee, fearing my love's decease.
''Tis not my fault: the boar provoked my tongue;
Be wreak'd on him, invisible commander;
'Tis he, foul creature, that hath done thee wrong;
I did but act, he's author of thy slander:
Grief hath two tongues, and never woman yet
Could rule them both without ten women's wit.'
Thus hoping that Adonis is alive,
Her rash suspect she doth extenuate;
And that his beauty may the better thrive,
With Death she humbly doth insinuate;
Tells him of trophies, statues, tombs, and stories
His victories, his triumphs and his glories.
'O Jove,' quoth she, 'how much a fool was I
To be of such a weak and silly mind
To wail his death who lives and must not die
Till mutual overthrow of mortal kind!
For he being dead, with him is beauty slain,
And, beauty dead, black chaos comes again.
'Fie, fie, fond love, thou art so full of fear
As one with treasure laden, hemm'd thieves;
Trifles, unwitnessed with eye or ear,
Thy coward heart with false bethinking grieves.'
Even at this word she hears a merry horn,
Whereat she leaps that was but late forlorn.
As falcon to the lure, away she flies;
The grass stoops not, she treads on it so light;
And in her haste unfortunately spies
The foul boar's conquest on her fair delight;
Which seen, her eyes, as murder'd with the view,
Like stars ashamed of day, themselves withdrew;
Or, as the snail, whose tender horns being hit,
Shrinks backward in his shelly cave with pain,
And there, all smother'd up, in shade doth sit,
Long after fearing to creep forth again;
So, at his bloody view, her eyes are fled
Into the deep dark cabins of her head:
Where they resign their office and their light
To the disposing of her troubled brain;
Who bids them still consort with ugly night,
And never wound the heart with looks again;
Who like a king perplexed in his throne,
By their suggestion gives a deadly groan,
Whereat each tributary subject quakes;
As when the wind, imprison'd in the ground,
Struggling for passage, earth's foundation shakes,
Which with cold terror doth men's minds confound.
This mutiny each part doth so surprise
That from their dark beds once more leap her eyes;
And, being open'd, threw unwilling light
Upon the wide wound that the boar had trench'd
In his soft flank; whose wonted lily white
With purple tears, that his wound wept, was drench'd:
No flower was nigh, no grass, herb, leaf, or weed,
But stole his blood and seem'd with him to bleed.
This solemn sympathy poor Venus noteth;
Over one shoulder doth she hang her head;
Dumbly she passions, franticly she doteth;
She thinks he could not die, he is not dead:
Her voice is stopt, her joints forget to bow;
Her eyes are mad that they have wept til now.
Upon his hurt she looks so steadfastly,
That her sight dazzling makes the wound seem three;
And then she reprehends her mangling eye,
That makes more gashes where no breach should be:
His face seems twain, each several limb is doubled;
For oft the eye mistakes, the brain being troubled.
'My tongue cannot express my grief for one,
And yet,' quoth she, 'behold two Adons dead!
My sighs are blown away, my salt tears gone,
Mine eyes are turn'd to fire, my heart to lead:
Heavy heart's lead, melt at mine eyes' red fire!
So shall I die by drops of hot desire.
'Alas, poor world, what treasure hast thou lost!
What face remains alive that's worth the viewing?
Whose tongue is music now? what canst thou boast
Of things long since, or any thing ensuing?
The flowers are sweet, their colours fresh and trim;
But true-sweet beauty lived and died with him.
'Bonnet nor veil henceforth no creature wear!
Nor sun nor wind will ever strive to kiss you:
Having no fair to lose, you need not fear;
The sun doth scorn you and the wind doth hiss you:
But when Adonis lived, sun and sharp air
Lurk'd like two thieves, to rob him of his fair:
'And therefore would he put his bonnet on,
Under whose brim the gaudy sun would peep;
The wind would blow it off and, being gone,
Play with his locks: then would Adonis weep;
And straight, in pity of his tender years,
They both would strive who first should dry his tears.
'To see his face the lion walk'd along
Behind some hedge, because he would not fear him;
To recreate himself when he hath sung,
The tiger would be tame and gently hear him;
If he had spoke, the wolf would leave his prey
And never fright the silly lamb that day.
'When he beheld his shadow in the brook,
The fishes spread on it their golden gills;
When he was by, the birds such pleasure took,
That some would sing, some other in their bills
Would bring him mulberries and ripe-red cherries;
He fed them with his sight, they him with berries.
'But this foul, grim, and urchin-snouted boar,
Whose downward eye still looketh for a grave,
Ne'er saw the beauteous livery that he wore;
Witness the entertainment that he gave:
If he did see his face, why then I know
He thought to kiss him, and hath kill'd him so.
''Tis true, 'tis true; thus was Adonis slain:
He ran upon the boar with his sharp spear,
Who did not whet his teeth at him again,
But by a kiss thought to persuade him there;
And nuzzling in his flank, the loving swine
Sheathed unaware the tusk in his soft groin.
'Had I been tooth'd like him, I must confess,
With kissing him I should have kill'd him first;
But he is dead, and never did he bless
My youth with his; the more am I accurst.'
With this, she falleth in the place she stood,
And stains her face with his congealed blood.
She looks upon his lips, and they are pale;
She takes him by the hand, and that is cold;
She whispers in his ears a heavy tale,
As if they heard the woeful words she told;
She lifts the coffer-lids that close his eyes,
Where, lo, two lamps, burnt out, in darkness lies;
Two glasses, where herself herself beheld
A thousand times, and now no more reflect;
Their virtue lost, wherein they late excell'd,
And every beauty robb'd of his effect:
'Wonder of time,' quoth she, 'this is my spite,
That, thou being dead, the day should yet be light.
'Since thou art dead, lo, here I prophesy:
Sorrow on love hereafter shall attend:
It shall be waited on with jealousy,
Find sweet beginning, but unsavoury end,
Ne'er settled equally, but high or low,
That all love's pleasure shall not match his woe.
'It shall be fickle, false and full of fraud,
Bud and be blasted in a breathing-while;
The bottom poison, and the top o'erstraw'd
With sweets that shall the truest sight beguile:
The strongest body shall it make most weak,
Strike the wise dumb and teach the fool to speak.
'It shall be sparing and too full of riot,
Teaching decrepit age to tread the measures;
The staring ruffian shall it keep in quiet,
Pluck down the rich, enrich the poor with treasures;
It shall be raging-mad and silly-mild,
Make the young old, the old become a child.
'It shall suspect where is no cause of fear;
It shall not fear where it should most mistrust;
It shall be merciful and too severe,
And most deceiving when it seems most just;
Perverse it shall be where it shows most toward,
Put fear to valour, courage to the coward.
'It shall be cause of war and dire events,
And set dissension 'twixt the son and sire;
Subject and servile to all discontents,
As dry combustious matter is to fire:
Sith in his prime Death doth my love destroy,
They that love best their loves shall not enjoy.'
By this, the boy that by her side lay kill'd
Was melted like a vapour from her sight,
And in his blood that on the ground lay spill'd,
A purple flower sprung up, chequer'd with white,
Resembling well his pale cheeks and the blood
Which in round drops upon their whiteness stood.
She bows her head, the new-sprung flower to smell,
Comparing it to her Adonis' breath,
And says, within her bosom it shall dwell,
Since he himself is reft from her by death:
She crops the stalk, and in the breach appears
Green dropping sap, which she compares to tears.
'Poor flower,' quoth she, 'this was thy fathers guise--
Sweet issue of a more sweet-smelling sire--
For every little grief to wet his eyes:
To grow unto himself was his desire,
And so 'tis thine; but know, it is as good
To wither in my breast as in his blood.
'Here was thy father's bed, here in my breast;
Thou art the next of blood, and 'tis thy right:
Lo, in this hollow cradle take thy rest,
My throbbing heart shall rock thee day and night:
There shall not be one minute in an hour
Wherein I will not kiss my sweet love's flower.'
Thus weary of the world, away she hies,
And yokes her silver doves; by whose swift aid
Their mistress mounted through the empty skies
In her light chariot quickly is convey'd;
Holding their course to Paphos, where their queen
Means to immure herself and not be seen.

Saturday 23 April 2016

A.A : The Spear-Shaker


"It’s important to note the idea that the Stratford man’s name was Shakespeare is false

His actual name was Shaksper (pronounced shack spur). 

There is no evidence that his name was ever pronounced or spelled as Shakespeare."





Known in Mythology as Pallas Minerva, Athene, or Athena, which means Virgin. She was the Goddess of Wisdom, War and the Liberal Arts and Sciences; was produced from Jupiter's brain without a mother. The olive, the emblem of peace, belongs to her. She is usually represented as wearing a helmet, her right hand holding a speare to strike at a serpent near her feet, the owl and the cock being her favourite birds symbolically.

Athena was known as the spear-shaker among the ancient Greeks. They placed her statue on their temples. When the rays of the sun danced on her spear, it seemed as though Athena was shaking it . . . hence her name, the Spear-Shaker.

"AthenA" was Francis Bacon's muse. He calls her "the tenth muse ten times more in worth than those old nine the rhymers invocate". (Sonnet 38).

 There were supposed to be nine muses only. He used the first and last letters of her name as head pieces to mark books connected with the Rosicrosse. There were many different designs of this double "A.A.". Numerous books in their era bear the signal,  including the authorized edition of the James Bible and the Shakespeare Plays. One "A" was printed light and the other "A" was dark to indicate that while there was much open and straightforward in the book there was also much in the shadow which could only be discovered by searching. (Dodd, The Martyrdom of Francis Bacon, p. 176)




The bold front cover page of the 1597 French publication of 

The Advancement of Learning in which Bacon’s Masonic “I M” mark is displayed

The audacious 1597 French publication of The Advancement of Learning is significant for two essential reasons:
(a) in the large, center oval, the Fleur-de-lis, crowned with a coronet, is prominently displayed—an important symbol of the Prince of Wales (heir to the English throne), and
(b) beneath the Fleur-de-lis rests a smaller oval (similar to an Egyptian cartouche).The letters I M are wedged between the Masonic “Triple Tau” and “Square and Compass” symbols. I M was Bacon’s personal Operative Mason’s mark signifying “I AM” an Operative Mason. Many years later, he would jokingly write an enigmatic eulogy to himself (as Shakespeare) in the 1623 Shakespeare Folio, signing it with his Masonic I M signature.


KNIGHTS OF THE HELMET
"Tragedies and Comedies are of one Alphabet."
(Francis Bacon)
by
MARTIN PARES
Canonbury Tower, Islington, London , N.1
(Second Edition)
1964
Entered in electronically and edited by Juan Schoch for educational research purposes of that which is contained in his library. Please leave this notice intact. ->pc93@bellsouth.net
Refs. http://www.enlightenment-engine.com,http://members.tripod.com/~pc93, http://www.egroups.com/list/gnosis284. Currently seeking assistance for the acquirement and ultimate sharing of texts for further research.
NOTE
In the space available for this article there was no room to deal adequately with two important Baconian documents which are still preserved. The first is in the British Museum and is Francis Bacon's "Promus"; this is a notebook in his own hand-writing containing 133 folio sheets on which are listed various phrases and turns of speech in English and other languages, many of which re-appear almost verbatim, in the Shakespeare plays. (See illustration on p. 3). This MS. was extensively edited by Mrs. Henry Pott (Longmans, Green & Co., 1883) and was also re-printed in "Bacon is Shakespeare" by Sir Edwin Durning-Lawrence (John McBride & Co., New York, 1910).
The second document is the "Northumberland MS". which is now at Alnwick Castle, Northumberland, and which is briefly described in Baconiana 160. It was once Bacon's property, and still contains some of his early writings in copy-hand script, although the two Shakespearean plays--Richard II and Richard III, mentioned in the original list of contents--are now missing. Their presence in the original MS. is significant, to say the least of it; and although the contemporary scribblings on the cover (which idly or intentionally connect the names "William Shakespeare" in various spellings and "Mr. ffrauncis Bacon") are extremely interesting, the important historical point is the unique survival of a manuscript originally containing works from each of these two great contemporary "pens". This document was reproduced in facsimile by Frank J. Burgoyne (Longmans, Green & Co., 1904). The original manuscript is reported to be gradually fading.
[First printed 1961]
"O give me leave to pull the Curtaine by
That clouds thy worth in such obscuritie."
(Powell's Attourney's Academy, 1623.
o o o o o 
The title-page of Minerva Britanna, 1612, displays this emblem . . .
The moving finger is writing upside down, "Mente Videbor" (By the Mind I shall be seen). On the scroll intertwining the laurel wreath is written:
 "One lives in one's Genius, other things depart in death."
o o o o o
The "Hog Money" was of brass and undated, the figure XII signifying twelvepence. The wild boar is heraldic and resembles the Bacon crest (see page 12).
CHAPTERS 
I. Francis Bacon's Notebook
II. Will Shaksper of Stratford
III. Science and Magic
IV. Ben Jonson
V. The Author A Lawyer
VI. The Statesman's Notebook
VII. LORD BACON'S CHARACTER--AN OLD LIBEL EXPOSED
VIII. BACON AND THE ANCIENT MYSTERIES
IX. KNIGHTS OF THE HELMET
o o o o o
FRANCIS BACON'S NOTEBOOK
The Promus of Formularies and Elegancies, is now in the British Museum. Bacon's handwriting is shown here in half scale facsimile. Note the date. Many of Bacon's "gags" appeared verbatim or closely paralleled in Shake-speare, at a later date.

PEACHAM'S Minerva Britanna (1612) page 33
The juxtaposition of these two emblems is striking; so, too, is the title-page (see p. 1). The superscription "The work becomes the man" and the border design of acorn and grape suggest a Rosicrucian origin. As to the Lord Dingwell--if it means the gentleman of the bedchamber created Lord Dingwall by James I--then he was certainly no shaker of the spear, but a mere cipher.
PEACHAM'S Minerva Britanna (1612) page 34
Sir Francis Bacon is shown dividing the serpent in twain, and facing the shaker of the spear. The superscription "Good laws from bad customs" is appropriate, and the border design of rose and thistle suggests Bacon's untiring efforts (outwardly and sub rosa) to bring about the Union of England and Scotland.
FRANCIS BACON AND THE KNIGHTS OF THE HELMET
One of these men is genius to the other
And so of these, which is the natural man
And which the spirit? Who deciphers them?
(A Comedy of Errors)
FORTUNA is casting down the Actor. Is she raising Francis Bacon?
Note the acrostic signature beginning on line 9, ONCFBA   PLEMPIUS, 1616 (the year of Shaksper's death), EMBLEM NO. 1.
"Good -bye and ....Hullo!"

CONTROVERSY over the Shakespearean authorship is not new; it has existed ever since the first Folio was printed in 1623. That remarkable book, with its important new plays and its many revisions of existing ones, was not published until seven years after Will Shaksper's death, but while Bacon was still living. Its Editors claimed to supply a complete collection, "All the rest, absolute in their numbers, as he conceived them". But in so doing they rejected many plays which had already been published under the pen-name "Shakespeare" during the actor's life. If William did not write these, someone else did; so the grounds for dispute have existed from the beginning.
The unity of the Shakespearean drama has again been questioned in more recent years. The single authorship of Titus Andronicus or of the Taming of the Shrew has been rejected by Swinburne. Experts have declared that the second and third parts of King Henry VI were largely written by Marlowe. The last Act of Troilus and Cressida has been attributed to Dekker, and a portion of Macbethhas been attributed to Middleton. The Merry Wives of Windsor is said to have been the work of a "botcher", and Sir Sidney Lee has attributed one of the most striking scenes in Macbeth to a "hack of the theatre". He suggested also that the third and fifth Acts of Timon of Athens were the work of a collaborator, and he divides Henry VIII into two parts, one by Shakespeare and the other by Fletcher. The early Hamlet (mentioned by Nash in 1589) has been attributed to Kyd, and the King John, published in 1590, has been dismissed as an "old play by an unknown writer".
6
The Shakespearean unity is less of a problem to Baconians, firstly because the possibility of a group led by Francis Bacon is admitted. Secondly because we believe in a process whereby an author, in the maturity of his genius may be expected to revise the productions of his youth. This, we believe, was Shake-speare's way, as it was certainly Bacon's way. Our controversy, then, turns upon the right interpretation of a name or pseudonym. Stratfordians, in order to bring the Plays and their reputed author into strict accord, have found it necessary to make him a scholar, a philosopher, a politician, a courtier, a lawyer, an amateur physician, and at the same time a player, a small trader, a moneylender, and a hard-fisted business man out for profit. Baconians can dispense with the last four avocations, along with the Stratford man, and can submit much stronger evidence in favour of the others.
Marlowe died in 1593, Oxford in 1604 and Shaksper in 1616. But the 1623 Folio introduced 19 new plays published for the first time. Some of them had been previously registered; some had been acted; but this was their first appearance in print. No manuscripts have yet been discovered; so this important book is the sole textual authority for more than half the Shakespearean Plays, and the final textual authority for the 17 Plays which had been printed before. These latter, in the Folio, were either re-written, extensively revised, or subjected to verbal alterations of a most fastidious kind, revealing the author's hand on almost every page. It is therefore my contention that this author must have been alive in 1623.
The 19 newly printed plays and the priceless Folio additions to the earlier plays are not to be dismissed merely as an editorial undertaking. They include some of the finest passages in Shakespeare; the opening chorus to Henry V, and the prologue to Troilus and Cressida are among them. It seems as if certain chosen passages, together with whole plays like The Tempest, Macbeth, Julius Caesar, Coriolanus, Anthony and Cleopatra, Measure for Measure, Timon of Athens, Henry VIII, Cymbeline, and The Winter's Tale, had been deliberately withheld from publication, and saved up by the author for his grand finale.
7
This gradual and methodical evolution and perfection of the Shakespearean text continued while Bacon was still living, and when the others were dead.
It may be helpful at this point to look at the time-chart (page 2) showing the birth and death dates of the various rival claimants. It will be seen at a glance that only Francis Bacon had the privilege of seeing the first Folio in print. His absolute silence about it--considering his known interest in the drama--is so strange as to be significant.
Ben Jonson must have been privy to all this. While writing the Folio preliminaries--apparently with his tongue in his cheek--he was working at Gorhambury with Francis Bacon on the Latin edition of the Essays and on the De Augmentis which was published in 1623.*
Now, although the Folio plays are official, and accepted as the final authority, it should be remembered that the earlier quarto editions, with their exquisite title-pages, have a tale of their own to tell. Often they preserve a valuable alternative reading where the author could not incorporate both: they show where he must have wavered between two happy thoughts. Sometimes the quartos allow us to see a famous character in process of being written up. Falstaff, for instance, is at first hardly more than a walking-on part; but in Henry IV he becomes a major stage creation. It is from these early quartos that we begin to follow the trajectory of a mighty mind, and the working out of a life-long altruistic purpose to "procure the good of all men". Through the quartos we can see the long and arduous progress from rough and ready play-house script to the grandeur of the Folio--that mirror of men and nations through the successive ages of our civilization.
Take the play Othello, first printed in quarto in 1622, six years after Shakespeare's death. The very next year, in the Folio, it was completely revised with 160 new lines, 70 lines deleted, and with trifling verbal alterations throughout. Many of these alterations involve a re-arrangement of the lines which has been accomplished with no little skill. Surely no one less than the author himself could have devised such manipulations.
_________
Baconiana Tenison (1679), p. 60.
8
WILL SHAKSPER OF STRATFORD
The claim that the Stratford legend is well-documented is a two-edged sword. In some ways the actor's uninspiring life story is too well documented. The truth is that the "documented" allusions to Shakespeare fall into two distinct categories, and need to be classified accordingly. Concrete allusions to the family affairs and business activities of the actor and money-lender are quite distinct from the more fanciful allusions to the writer of the drama. Having assumed that Will Shaksper wrote the Plays, the orthodox infer--against all the evidence--that the actor was the kind of man which the Plays themselves show that the author must have been. But the inference is necessitated only by the assumption. To claim all the eulogies intended for the author of the plays as being intended for Will Shaksper of Stratford is, clearly, to beg the whole question of the author's identity.
Shakespearean orthodoxy has become a secular creed; the wildest statements are often made in support of it and the most dubious and counterfeit relics are accepted and worshipped by the credulous. The same historical inaccuracy is employed to denounce a rival theory. It is said, with great ignorance, that Francis Bacon had no interest in the theatre; yet we find him writing masques and revels at Gray's Inn, organizing them in middle life, writing a profound study on the ethics of the theatre, the uses and abuses of "stage-plays", and commending the acting profession as a form of personal training. It is also alleged, with tedious repetition, that Bacon possessed no poetical gifts. Yet Ben Jonson compared him to Homer and Virgil, and Shelley regarded him not only as a poet, but as the greatest philosopher-poet since Plato.*
It is unfortunate that Will Shaksper seems not to have corresponded with anyone. He is not, of course, the only Elizabethan dramatist of whom this can be said, but one would have expected a great writer, who had possessed himself of the highest culture of the age in which he lived, to have taken some interest in contemporary affairs and in other great writers. Most of the writers and dramatists of that day were University men. Spenser, Watson,
_________
* Preface to the translation of The Banquet, P. B. Shelley, Defense of Poetry, P. B. Shelley.
Harvey, Bacon, Marlowe, Nash and Greene went to Cambridge. Lyly, Lodge, Peele, Bodley and others went to Oxford. Ben Jonson was educated at Westminster School; Lord Oxford had private tutors and later studied at Gray's Inn.
The internal evidence of the plays indicates that the author was a Cambridge man. Titus Andronicus, Falstaff and even King Lear, are among the characters who freely and unconsciously lapse into the idiom of that University. The author of Polimanteia (1595) pays an unmistakable tribute to the classical scholarship of "Shakespeare" as an alumnus of Cambridge.* But William left no record at any University or school and no record of private tuition, these deficiencies being glibly explained by the word "genius". But genius and knowledge are two distinct things, and the author of the Plays had both. In the words of Samuel Johnson:
"Nature gives no man knowledge. . . . Shakespeare, however favoured by Nature, could only impart what he had learned."
The case against Shakespearean orthodoxy has been so well handled by Richard Bentley in the Journal of the American Bar Association of February, 1959 that I cannot do better than refer my readers to his article for all existing evidence regarding the life of the Stratford man. Evidence as to his supposed literacy or education--as distinct from that of the bard whose identity is called in question--is conspicuous by its absence. What evidence we have clearly points the other way; so that we can hardly blame William for the trivial and peevish nature of his will. But let us banish these Idols of the Theatre so significantly defined in the Novum Organum, and consider the evidence for Francis Bacon. Let us forget the odour of the famous "second-best bed" and take our tone from a sentence in a very different testament:--
"For my name and memory, I leave it to foreign nations, and to mine own countrymen after sometime be passed over."
 
These words in Francis Bacon's draft will--expressly withholding from his countrymen the care of his name and the
_________
Baconiana 132. See article by Stewart Robb.
Reprinted in Baconiana 161.
10
charge of his life's work--have always struck me as peculiar. They speak across the centuries with a sense of injustice, of misunderstanding and of personal sacrifice. In 1679, Archbishop Tenison wrote as follows:--*
"Those who have true skill in the Works of the Lord Verulam . . . can tell by the Design, the Strength, the way of colouring, whether he was the Author of this or that other Piece, though his name be not to it."
If we can accept the evidence of Peacham's Minerva Britanna (1612) one of Bacon's mottoes was "Mente Videbor"--"By the mind I shall be seen" (see page 1). His declared object was to parallel his philosophical work with a new method of teaching which would, as he expressed it, make men in love with the lessons and not with the teacher. This suggests some form of dramatic teaching as practised by the ancients in the days of the Mysteries. But it could not be accomplished except through the medium of a modern language. The great statesman, Bismarck, when asked what he thought was the most important political factor of his own day, replied without hesitation "the fact that the North American continent speaks the English language". His insight was deep. Language, and the command of it, has become the modern instrument of power. The original construction of that great instrument the English language, and the planting of it in North America were the two essential parts of one great enterprise. Engaged in this work was a group of talented men of action and men of letters. Who stood behind this group, and who was its chief?
It is a matter of history that Francis Bacon, the most farsighted statesman of his day, was the moving spirit in promoting the Act of Union between England and Scotland. It is not so well known that he was the moving spirit in projecting a greater union of English-speaking peoples, that he was on the Council of the first Virginia Company, and that two of his colleagues on that Council were the Earls of Pembroke and Montgomery--that "Incomparable Paire of Brethren" to whom the First Shake-Speare Folio was dedicated. It was their money that was at risk when the first expedition set sail from these shores
_________
Advancement of Learning--Book 1.
11
and, later, when the first appointed Governor, Sir George Somers, was wrecked on the Bermudas giving us our first Crown Colony, and adding The Tempest to our literature.
There are periods in the earlier life of Francis Bacon for which even Spedding is at a loss to account. There were periods of travel abroad in Europe, and periods spent at Gray's Inn without practising the law. At Gray's Inn, too, there were the Knights of the Helmet. It was during that time that the English language was in process of being forged under such names as Spenser, Marlowe and Shake-speare; legendary writers who could breathe new life into old words, manufacture new words, multiplying the vocabulary of our language many times. It was during the latter part of Bacon's life, and during his rise to political power, that this newly augmented language was deliberately transplanted across the Atlantic.
There is no doubt that the first permanent English settlements in North America and the annexation of the Bermudas had a far-reaching effect on the future cultural development of the New World. The Newfoundland postage stamp of 1910, commemorating the tercentenary of the Colony, carried Lord Bacon's head and the words "The Guiding Spirit of the Colonisation scheme". The first Bermudan coinage, known as the hog money, carried Bacon's crest on one side and a picture of a ship under full sail--probably the Sea Venture--on the reverse. According to records in the British Museum, this coinage was regarded unfavourably by King James and was forbidden to be exported"* (see page 1).
In the Colonial State Calendar there is an extract of a patent "To Henry Earl of Northampton; and mention is also made of a letter from Captain John Smith to Lord Bacon enclosing a description of New England. In the possession of the present Earl of Verulam there is an interesting screen made of most beautiful, late 16th century, coloured glass, hand-painted and fired. Part of the screen illustrates scenes from the New World. The glass itself originally came from a gallery
_________
America's Assignment with Destiny---Manly Palmer Hall.
North and Central America and Africa and the East.
12
which was built in honour of Queen Elizabeth I by Sir Nicholas Bacon; but from the date of the glass, it seems that the windows were installed after his death. Francis Bacon was evidently interested, and not a little amused in the tales of seafaring men and travellers; for depicted in this screen are Indians in feathers and monsters too, surely the inspiration for a Caliban.
Bacon's association with the Virginia Company is well established by an original manuscript in the British Museum. It was written by William Strachey, first Secretary of the Colony, and afterwards printed for the Hakluyt Society in 1849; it is entitled The Historie of Travaile into Virginia Britannia. Dedicated to The Rt. Hon. Sir Francis Bacon, Kt., Baron of Verulam, Lord High Chancellor of England, it begins as follows:--
 
Your Lordship ever approving yourself of the most noble factor of the Virginia Company, being from the beginning (with other Lords and Earles) of the principal Council applyed to propagate and guide yt. . . .
William Strachey's narrative, based on the wreck of the Sea Venture, was not published until 1625 when it was included in Purchas His Pilgrimes.The Tempest, as we have seen, was not published until seven years after Will Shaksper's death, when it appeared in the First Folio of 1623. If William wroteThe Tempest he must, according to the British Museum authorities, have had access to Strachey's narrative in manuscript form. The Earl of Oxford who died in 1604--and who might conceivably have been associated with the earlier plays--could have had no hand in The Tempest. On the other hand Francis Bacon, as a founder-member of the Virginia Company, would certainly have had the information; why not the inspiration?
* * * * * *
Many of the arguments in favour of the Oxfordian theory can be shown to be equally applicable to Francis Bacon. Both were courtiers; both had studied at Gray's Inn, both had travelled
_________
Baconiana 158, Of Plantations, by Noel Fermor.
13
abroad, and both displayed a device with a Boar. The need for anonymity was the same; both had some experience of theatrical production and a taste for masques and revels; both were inclined to spend their money rather lavishly.
The testimony of the sonnets, though sometimes applicable to either, is on the whole more applicable to Bacon. The line "Wer't ought for me I bore the canopy" in Sonnet 125 might just as well be applied to him as to Oxford. Indeed, the tenor of the sonnet almost suggests that it was written at about the time of Bacon's fall. The line "And take thou my oblation poor but free" is a repetition of Bacon's plea in a letter to King James. "Suborned informer" could refer to Churchill or Cranfield.
The peculiar wording of many of the sonnets may well be applied to Bacon. Compare the line from Sonnet 76 "And keep invention in a noted weed" with Bacon's line, "I have though in a despised weed, procured the good of all men". This would seem to suggest that the "despised weed" of Bacon and the "noted weed" of Shakespeare both signified the same thing, namely, the motley coat of Jacques.
The Cecils, father and son were related by marriage to both Oxford and Bacon. The burlesque of the elder Cecil as Polonius might have been done by either. It is not impossible that Bacon and Oxford were both members of the same secret circle, or that Oxford when at Gray's Inn was also a Knight of the Helmet. But he died in 1604 when 20 plays were still to appear, and when most of the others were still to be revised and augmented. Oxford could have had no hand in this, but there are strong indications that Bacon did. Here is one which, in my opinion, is unanswerable. In the 1604 Hamlet quarto there appears this line:--
". . . Sense sure you have
Else you could not have motion."
This ancient doctrine--that everything which has motion must have sense--is also upheld by Bacon in the 1605 Advancement of Learning; but in the 1623 De Augmentis he renounced it. So, in the same year, did the author of the Shakespeare plays--supposedly in his grave since 1616; the Hamlet quartos of
14
1604, 1605 and 1611 all preserve this notion; but in the Folio Hamlet of 1623, it is dropped.
Again, in the 1604 Hamlet the author supports the popular belief in the moon's influence on the tides. Bacon also held this view in 1594 and, for all we know, in 1604, and so, too, all the subsequent quarto editions of Hamlet continue to echo it. But in 1616, in his De Fluxo et Refluxu Maris, Bacon withdrew his support of this view and, once again, the ubiquitous author of the Shakespeare plays dropped it from the Folio version of Hamlet.*
If you wish to check this interesting point, make certain your Shakespeare gives you the "folio" and not the 1604 "quarto" version of Hamlet. The latter is more often reprinted, since it is more discursive and the aim of most editors is to conserve as much as possible. But the cuts made in the Folio Hamlet are improvements from the dramatic point of view; and they also represent the author's final verdict on his own work.
These thoughtful revisions of the Shakespearean text were not always a dramatic improvement, nor always a credit from the scientific point of view; but they do show a care for exactness in writing, and a careful integration of what was said in both works. Between 1597 and 1623, Bacon's own writings were constantly under revision; even the famous Essays went through several stages. It is significant that the Shakespearean plays went through a similar metamorphosis during the same period.
SCIENCE AND MAGIC
The greatest repository of Bacon's scientific notions is the Sylva Sylvarum. This seems to be the sweepings of his notebooks of a lifetime, and it is curious that some of the quaintest of his theories reappear, almost in the same words, in the Shakespearean drama. The Sylva Sylvarum is in many ways a forest rather than a garden, but it is a forest which is flecked here and there with a strange and fleeting beauty. Who but a poet, for example, would have introduced such an image as this into a scientific speculation?
_________
Parallelisms, by Edwin Reed (1902).
15
. . . the division and quavering which please so much in music have an agreement with the glittering of light, as the Moon-beams playing upon a wave.
Generally speaking, Bacon's scientific observations--especially those on flowers and horticulture--are not only beautifully expressed, but technically interesting. Some of his speculations were centuries ahead of his time, as for instance the real nature of heat, while others were positively archaic. One of the quaintest of these is his theory of "Spirits enclosed in tangible bodies". Now it so happens that the Shakespearean drama is also pervaded with these strange "spirits" and here are one or two examples of the many which have been given by Judge Webb:--

1. Bacon tells us that "soft singing" and the sound of falling waters, and the hum of bees, are conducive to sleep; and the cause is: "for that they move in the spirits a gentle attention".
In The Merchant of Venice, when Jessica remarks, "I am never merry when I hear sweet music", Lorenzo replies, somewhat inconsequently, "The reason is, your spirits are attentive".
2. In his Experiments in Consort Touching Venus, Bacon attributes the ill-effects of excess in "the use of Venus" to the "expense of spirits" by which it is attended.
In the Sonnets, Shakespeare declares that "the expense of spirits in a waste of shame is lust in action".
3. Bacon tells us that the outward manifestations of the passions are "the effects of the dilation and coming forth of the spirits into the outward parts".
In Troilus and Cressida, when Ulysses beholds the heroine for the first time, he remarks "Her wanton spirits look out at every joint and motive of her body".
4. As an example of the fascination which one man may exert over another, Bacon relates the story of "an Egyptian Soothsayer that made Antonius believe that his genius, which otherwise was brave and confident, was in the presence of Octavius Caesar, "poore and cowardly" and who therefore"advised him to remove from him".
16
In Antony and Cleopatra, Bacon's Egyptian Soothsayer is brought bodily upon the stage in Shakespeare's lines:--
 
Therefore, O Antony, stay not by his side!
Thy demon, that's thy spirit that keeps thee, is
Noble, courageous, high, unmatchable,
Where Caesar's is not, but near him thy Angel
Becomes a Fear as being overpower'd; therefore
Make space enough between you!
In examining these parallels, it is important to note that very often the physical or scientific fact noted down by Bacon is abstracted and raised to illustrate a mental or moral analogy in Shakespeare. The following examples may serve to show us this:--
5. In the "Interpretation of Nature" Bacon tells us that "Some few grains of saffron will give a tincture to a ton of water". And in All's Well that Ends Well Lafeu--raising this analogy from the physical to the abstract--exclaims "Whose villainous saffron would have made all the unbaked and doughy youth of a nation in his colour."
6. In the Essex Device (1595) Bacon tells us that "There is no prison to the prison of the thoughts". And Hamlet, in speaking of Denmark as a "prison", and on Rosencrantz replying "We think not so, my Lord", exclaims "Why then 'tis none to you; for there is nothing either good or bad but thinking makes it so; to me it is a prison.
7. Bacon, in the Sylva Sylvarum (S.441) tells us that "Shade to some plants conduceth to make them large and prosperous more than Sun"; and that, accordingly, if you sow borage among strawberries "you shall find the strawberries under those leaves far more large than their fellows".
In Henry V, Act 1, the Bishop of Ely, using this strange analogy, expounds on the large and luxuriant development of the Prince's nature on his emerging from the shade of low company:--
The strawberry grows underneath the nettle,
And wholesome berries thrive and ripen best
Neighbour'd by fruit of baser quality
And so the Prince . . ."
17
"This writing of our Sylva Sylvarum", says Bacon, "is . . . not natural history but a high kind of natural magic". Indeed, this pre-occupation of both Bacon and Shakespeare with experiments in botany and with "great creating nature" could lead us to questions far beyond the scope of this article. Nearly three centuries before Darwin was to expound his theories, Bacon was suggesting experiments for changing the plumage and colouring of pigeons and the transmutation of species. It seems that the writer of the Shakespeare drama possessed the same scientific, or perhaps we should say "magical" imagination as Bacon and Darwin.
BEN JONSON
There was one famous contemporary of Lord Bacon, a great and original writer himself, a man of moods and satire, seldom given to lavish praise of others, who acknowledged Bacon to be his "chief". This man was Benjamin Jonson. If ever there was a man of genius, full of surprises, it was Ben. He combined the strangest mixture of coarseness and delicacy. The son of a minister, he was first educated at Westminster School under Mr. Camden and, later in life, at Trinity, Cambridge. As a private soldier in the Low Countries he challenged and killed with his own hands a champion from the enemy camp; later he killed a fellow actor in a duel. He drank heavily at times, and it is not impossible that Will Shaksper's decease--after that famous "merry meeting"--was the end of a similar feud. And yet Ben Jonson could write, not only in Latin, not only ribald plays, but some of the loveliest lyrics such as the extravagant "Drink to me only with thine eyes". We have already noted what this man--in whom the fire burned if he could not speak his mind--had to say about his "Chief", Francis Bacon, preferring him to Homer or Virgil.* We must now consider a peculiar and prolonged chain of insulting references to the Stratford man, coupled with praise for the writer of the Shakespearean plays, which is only intelligible on the assumption that these were two distinct personalities. Well may we ask
. . . . . which is the natural man
And which the spirit? Who deciphers them?
_________
Baconiana 160. The City and the Temple.
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Ben seems to have begun his series of disparaging remarks in 1598, or thereabouts, and closed them shortly after Shaksper's death in 1616, with the famous "poet-ape" epigram. In 1618, if not before, he became closely acquainted with Bacon, and by 1620 he was living with him at Gorhambury as one of the "good pens that forsake me not". Probably it was then that he really became attracted by that great, magnetic character; though he may well have guessed the secret of the Shakespearean drama long before. However his early contemptuous tone now undergoes a remarkable change; so let us close our examination of this witness by asking him to tabulate his first insulting remarks about the actor, his later official praise of the "author" and, finally, his personal tribute to Bacon.
 
 
1598 He degrades the stage. He is ignorant of the ordinary rules of dramatization.
 1601 He barbarizes the English language, and brings all arts and learning into contempt. He wags an
ass's ears. He is an ape.
 1614 His tales are but drolleries. He mixes his head with other men's heels.
 1616 He is a poet-ape, an upstart, a hypocrite and a thief. His works are but the frippery of wit.
(N.B.--Shaksper dies this year.)
1619 He wanted art and sometimes sense!
(N.B.--In 1620 Ben Jonson is more intimate with Francis Bacon; wrote a laudatory poem on
on the occasion of his 60th birthday; becomes one of Bacon's "good pens that forsake me not".)
 1623 Praises the Author of the Shakespeare Folio comparing him favourably with Homer and Virgil.
(See above.)
 1623 Soule of the Age! Sweet Swan of Avon! Starre of Poets!
 1623 "What he thought, he uttered with that easinesse that wee have scarce received from him a blot in
his papers."
(N.B.--The last quotation, though obviously written by Jonson, was fathered on the two
players, Heminge and Condell.) In Discoveries published in 1641 after Jonson's death, he
perplexes us still more.
 1641 I remember the Players have often mentioned it as an honour to Shakespeare that in his writings
(whatsoever he penn'd) hee never blotted out line. My answer hath beene Would he had blotted
a thousand. Which they thought a malevolent speech. I had not told posterity this, but for their
ignorance who choose that circumstance to commend their friend by wherein he most faulted. And to justifie mine owne
candor [for I lov'd the man and doe honour his memory (this side idolatry) as much as any]. Hee
was (indeed) honest . . .
(N.B.--The parentheses in the first edition are peculiar, and if read alone, raise doubts.)
Jonson's last tribute to Bacon is of a different character.
 1641 (Lord St. Albane) My conceit of his Person was never increased toward him by his place or
honours. But I have and doe reverence him for the greatnesse that was onely proper to himselfe, in
that hee seem'd to mee ever, by his works, one of the greatest men, and most worthy of
admiration, that had beene in many Ages.
Ben Jonson, who is generally cited as the principal witness for William Shakespeare, has now been called on behalf of Francis Bacon. His various utterances over the entire period when the Shakespeare plays were coming out are puzzling to say the least of it. After his early contemptuous remarks, of one thing we can be quite certain; the eulogies in which he indulged in the First Shakespeare Folio were official, a kind of command performance.
Would that Ben Jonson could arise from his square foot of earth in Westminster Abbey and tell us why his two greatest contemporaries never once mentioned each other; for to him the answer was assuredly known. The monuments, and even the title pages all seem to proclaim a mystery. Bacon in St. Michael's Church, St. Albans, sits as he used to sit,* chin in hand, gazing into some New Atlantis of the future. Shakespeare in Westminster Abbey is pointing to one of the finest passages from The Tempest, deliberately misquoted! Will Shaksper's plump and prosperous effigy in the Parish Church at Stratford stares vacuously before it, a quill ostentatiously paraded in its fat fingers. The mask-like countenance depicted in the First Folio is rejected by Ben Jonson with the plainest of hints . . . "Reader look, not on his picture but his book".
THE AUTHOR A LAWYER
The abundance of legal terms displayed almost ostentatiously in the plays and sonnets has long attracted notice. It is not only the quantity, but the quality of these instances which is striking.
_________
* Sic sedebat runs the inscription, not the more usual Hic jacet.
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Ben Jonson uses legal jargon in his own plays, but he uses it in buffoonery and satire. The author of Shakespeare, in addition to satire, often displays a legal profundity which has been noticed by many eminent lawyers--among them Lord Chief Justice Campbell, who wrote as follows:
 
"To Shakespeare's law, lavishly as he propounds it, there can neither be demurrer, nor bill of exceptions, nor writ of error."
 
While leaving this question for lawyers to decide, we are inclined to believe that this discernment, this nicety in the use of legal terms, would be beyond the capacity of a clerk in an attorney's office, and even beyond that of an amateur law student at the Inns of Court, where it was not unusual for the sons of noblemen to pass some time. This is no disparagement of Oxford's scholarship; we simply beg leave to question the profundity of his legal acquirements. It is the trained mind that speaks in the Shakespeare plays--in jest or in earnest--as advocate or judge, and Bacon was both and a humorist into the bargain. Ben Jonson records that one of Bacon's foibles was his inability to restrain himself from making a joke when it occurred to him. Perhaps it was some such frivolous or mischievous inclination that caused the Shakespeare Sonnet 46 to be written. Here it is:
"Mine Eye and Heart are at a mortal war
How to divide the conquest of thy sight;
Mine Eye my Heart thy picture's sight would bar,
My Heart mine Eye the freedom of that right,
My Heart doth plead that thou in him dost lie
(A closet never pierc'd with crystal eyes),
But the Defendant doth that plea deny,
And says in him thy fair appearance lies.
To 'cide this title is impannelled
A quest of thoughts, all tenants to the Heart;
And by their verdict is determined
The clear Eye's moiety and the dear Heart's part,

As thus: mine Eye's due is thy outward part,
And my Heart's right, thine inward love of heart."
 
Commenting on this extraordinary Sonnet, which must be unique among love songs, Lord Chief Justice Campbell writes as follows:
I need not go further than this sonnet, which is so intensely legal in its language and its imagery,that without a considerable knowledge of English forensic practice it cannot be fully understood. A lover being supposed to have made a conquest of (i.e. to have gained by purchase) his mistress, his EYE and his HEART, holding as joint-tenants, have a contest as to how she is to be partitioned between them--each moiety then to be held in severalty. There are regular Pleadings in the suit, the HEART being represented as Plaintiff and the EYE as Defendant. At last issue is joined on what the one affirms and the other denies. Now a jury (in the nature of an inquest) is to be impannelled to 'cide (decide) and by their verdict to apportion between the litigating parties the subject matter to be decided. The jury fortunately are unanimous, and after due deliberation find for the EYE in respect of the lady's outward form, and for the HEART in respect of her inward love. Surely Sonnet 46 smells as potently of the attorney's office as any of the stanzas penned by Lord Kenyon while an attorney's clerk in Wales.
THE STATESMAN'S NOTEBOOK
The political undercurrent of the Shakespeare Plays is seldom penetrated. In 1817 Hazlitt hovered near the truth:
Coriolanus is a storehouse of political commonplaces. Anyone who studies it may save himself the trouble of reading Burke's reflections or Paine's Rights of Man, or the debates in both houses of Parliament since the French Revolution or our own.
 
But Hazlitt offers no suggestion as to how the Stratford actor could have gained this experience. It has fallen to modern commentators to supply this omission by writing up Stratford-on-Avon as an Elizabethan training ground for political writers. Professor L. C. Knight, in discussing the Roman plays, has emphasized Shakespeare's insistence on the "human content of political situations"; and he regards the Bard's "private experiences of the organic life of a small community" as contributing to his achievement. One can almost hear the contemptuous grunt of Bismarck at this view of Shakespeare's experience in statecraft.
In a most interesting paper read to a gathering at Stratford a few years ago, Mr. H. J. Oliver of Sydney described the real theme of Coriolanus, as "the proper place in a democratic or would-be democratic society of the pure aristocrat who, rightly or wrongly, will never compromise"--a theme which, as he pointed out, required a considerable deviation from Plutarch. Now this is a penetrating criticism so far as it goes. It frankly admits a deliberate alteration to a classical story to meet the
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needs of a new and revolutionary dramatic purpose. Yet it is hard to believe that the moneylender of Stratford would have thus deviated from Plutarch in order to express the finer feelings of a nobleman who had become involved in the proceedings of a democratic society. This aspect of Coriolanus has been noticed before by Mark Van Doren:
The movement of Coriolanus is rhetorical, as in Julius Caesar, but more bleakly than there. The streets of Rome are conceived as rostrums where men meet for the sole purpose of discussing something--the character of the hero and its effects upon a certain political situation. Shakespeare is . . . addressing himself with all the sobriety of his intelligence to a subject which has not been created by the play itself, or even by its respected godfather Plutarch. It is a subject whose existence does not depend upon dramatic art, nor is the artist in this case wholly absorbed in it. . . .
 
It is perfectly true that an "artist" in this case is not wholly absorbed; it is the "thinker" who is at work. For Coriolanus is one of the most thoughtful and perhaps least poetical of the Plays. Here is a subject which could only have been inspired by long experience of the Commons and of the Court as well; surely a situation which only a Francis Bacon would have conceived.
It is in the Roman plays of Julius Caesar and Coriolanus and perhaps in King Lear, that the pattern of our own social revolution is most clearly foreshadowed. It is here that these blueprints for the new age of democracy are cautiously revealed. In the conversations between the conspirators in Julius Caesar, or between the citizens and tribunes in Coriolanus, or between the gardeners in Richard II, or between the soldiers and King Henry V on the eve of Agincourt, it is the ideas of the Utopias which begin to steal upon the stage. In the Roman plays we are shown the inevitable collision between civil and personal interests. We are also shown the distinction between a true democracy (seen almost as an aristocracy of service) and that kind of demagogism which the crowd will always re-create when power is placed in its hands, namely the popular election and its misuse of the block vote. As the author of Coriolanus so clearly foresaw, this can eventually become the "monster of the multitude", usurping the seat of the ancient tyrant. First we are shown the pride and selfish ambition of a prince who has
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ranged himself against the Commonweal. Then we are shown the same prince contending for the Commonweal, against the short-sightedness and tyranny of the crowd. The same struggle between true democratic law and dictatorship by a Union (or by a man-made ideology) persists today.
There is another reason for ascribing Coriolanus to Francis Bacon, which is technical rather than political. The detailed description of the circulation of the blood, which is used as a parable by Menenius Agrippa in Act I, could not have been written before the Harvey lectures had commenced. The Bard, whoever he was, could scarcely have anticipated William Harvey in this momentous discovery; and Will Shaksper had died before it was announced. If our hypothesis is correct and Francis Bacon wrote the play, the parable would have been almost irresistible. Not only was he living at the time, but Harvey was his personal physician! The impulse to illustrate his social and political theories in this picturesque and technical way, would have been characteristic of Bacon. Here are the lines:
 
. . . Note me this, good friend;
Your most grave belly was deliberate,
Not rash like his accusers, and thus answered;
"True it is, my incorporate Friends" quoth he,
That I receive the general food at first
Which you do live upon; and fit it is,
Because I am the store-house and the shop
Of the whole body: but if you do remember
I send it through the rivers of your blood,
Even to the court, the heart, to the seat o' the brain;
And, through the cranks and offices of man,
The strongest nerves and small inferior veins,
From me receive that natural competency
Whereby they live . . . .
* * * * * *
LORD BACON'S CHARACTER--AN OLD LIBEL EXPOSED
Lord Bacon's personal character has been as much admired as it has been abused. Naturally this has perplexed students, who have been torn between the desire to listen to Bacon's real biographers or to follow blindly the big drum of Macaulay. Perhaps we should remember the attitude and credentials of
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those who knew Francis Bacon personally. Two monarchs relied upon his counsel, integrity and judgment. Raleigh admired him, Anthony Bacon, Falkland and Herbert loved him, Robert Cecil respected him, and Ben Jonson reverenced him. Edward Coke, his unscrupulous life-long rival, hated him. Later, Wilson and D'Ewes traduced him and Macaulay libelled him. The latter's brilliant essay (as Spedding foretold) has beguiled the public into accepting historical inaccuracies of a very serious kind. It is not for nothing that Winston Churchill has, dubbed this stimulating writer the "prince of literary rogues".
Bacon never supported the Essex rebellion; on the contrary, he strongly advised him against this reckless course. He had made his deepest allegiance to the Queen perfectly clear to Essex. He said, in effect, that, if the Earl settled his obligations to him by a gift of land it could only be accepted with "the ancient savings of homage and duty to the Crown". Francis Bacon begged to be excused from appearing at the Essex trial, but was commanded to attend nolens volens. And, being forced to appear (in the minor role of "Queen's Counsel Extraordinary" which made him in fact her watch-dog) he could have no more supported the Essex treason than Raleigh could have thrown up his command of the Guard. It was obvious that Essex had become a dangerous rebel and a traitor to his country; but fortunately the old Queen still had staunch counsellors and Essex was very properly arrested, tried and executed: we cannot accept, therefore, this popular misconception of Bacon's relationship with Essex.
But since Macaulay's insinuations will continue to be read as literature, however unreliable historically, one must try to appreciate the difficulties in which men of letters, jealous of their professional honour, are placed when asked to consider Francis Bacon as our national bard. If the latter could be put upon trial before a modern, properly-constituted court, these difficulties would disappear and Macaulay's insinuations would fall to the ground. For, as the late Lord Birkenhead wrote, he never had a trial.*
_________
* Famous Trials.
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It is misleading, to put it mildly, to say that Bacon confessed to a charge of bribery. What he did was to desert his defence at the King's entreaty, and rely on a Royal promise of pardon.* We can only surmise his reasons for trusting the King and Buckingham. Probably it was to save the Court, which was notoriously corrupt, from a direct collision with the Commons. His words to King James after that last interview show his state of mind,
"I wish that as I am the first, so I may be the last of Sacrifices in your Times".
In abandoning his defence Bacon acknowledged the evils of the "Fee System"--the recognized way in which judges in those days were remunerated, and on which, from the time of Sir Thomas More, every Lord Chancellor had had to depend. He also acknowledged his fault in not restraining his servants from abusing this system by exacting a rake-off. In those days there was no Civil List; so judges received fees just as counsel receive "tips" today; but that did not mean that justice was perverted. The customary fee had to be paid for a hearing; and perhaps the most delightful touch in the political arraignment of Bacon was that three witnesses, who paid sums which were later held to be bribes, and who lost their cases, asked for their money back!
In the political "frame-up" by which the ruin of Francis Bacon was accomplished there was no properly constituted court; the witnesses were examined in Bacon's absence, not a single witness was examined on oath, none were cross-examined and all were given a free pardon. The published "interrogatories" are therefore quite misleading. As Charles Williams put it: "Anyone who had ever heard of any attempt to give a gratuity to any servant of the Lord Chancellor was invited to say so, with a promise of complete amnesty and oblivion". One cannot imagine a more effective method of collecting irresponsible accusations against a great Lord Chancellor. We know the personal result; Bacon was sacrificed for the sake of a praiseworthy judicial reform. But what was the legal result? After four years' hard work and the clearance of some thirty-six
_________
* Hacket's Life of Dean Williams.
Baconiana (1679), p. 16.
26
thousand cases in Chancery,* not one single decree of Bacon's was reversed, all standing firm to this day. And what happened later to his accusers and successors in office? In a few years, as history records, all of them were proved to be completely corrupt.
BACON AND THE ANCIENT MYSTERIES
 
You go not, till I set you up a glass
Where you may see the inmost part of you.

(Hamlet)
Enlightenment by means of the dramatic art or "feigned history" was a method of teaching which Bacon commended: the "magisterial" method was to be supplemented by the "initiative" method, the pulpit by the proscenium. It was a good way of reaching the whole man, the emotions as well as the reason, and was to be the promised fourth part of his Great Instauration. Most of his biographers have entirely missed this point; though it was noticed by Delia Bacon. This frail New Englander, who came to this country with true missionary zeal just a century ago, combined an exceptional insight into The Great Instauration with a profound Shakespearean scholarship. By nature she was perhaps too quixotic, not realising that she was tilting against the windmills of a popular creed. I have quoted her more fully in A Pioneer but here are a few brief extracts from her first brilliant essay in an American magazine, Putnam's Monthly for January, 1856. It would be hard, even with the evidence which has since come to light, to present the philosophic argument more skilfully.
 
Condemned to refer the origin of these works to the illiterate man who kept the theatre, . . . condemned to look for the author of Hamlet--the subtle Hamlet of the university, the courtly Hamlet--"the glass of fashion and the mould of form"--in that doggish group of players who came into the scene summoned like a pack of hounds to his service--how could we understand the enigmatical Hamlet, with the thought of ages in his foregone conclusions? . . . In vain the shrieking queen remonstrates, for it is the impersonated reason whose clutch is on her, and it says "you go not hence till you have seen the inmost part of you".
The Story of Lord Bacon's Life. W. H. Dixon (1862).
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He looks into Arden and into Eastcheap from the Court standpoint, not from these into the Court. He is as much a prince with Poins and Bardolph as when he throws open to us, without awe, the most delicate mysteries of the royal presence. . . . How could the player's mercenary motive and the player's range of learning and experiment give us the key to this new application of the human reason to the human life?
There were men in England who knew well enough what kind of instrumentality the drama had been, and with what voices it had spoken. And where else had this mighty instrument for moving and moulding the multitude its first origin, if not among men initiated in the profoundest religious and philosophic mysteries of their time--the joint administrators of the government of Athens, when Athens sat on the summit of her power? . . .
Thus blinded we shall not perhaps distinguish that magnificent whole with which this author will replace his worthless originals--that whole in which we shall one day see, not the burning Illium, not the old Danish court of the tenth century, but the yet living, illustrious Elizabethan age, with all its momentous interests still at stake.
If we had but gone far enough in our readings of these works to feel the want of that aid from exterior (Baconian) sources, there would not have been presented to the world, at this hour, the spectacle--the stupendous spectacle--of a nation referring the origin of its drama--a drama more noble, and learned, and subtle than the Greek--to the invention--the accidental, unconscious invention--of a third-rate play-actor. The true Shakespeare would not have been now to seek. . . .
We should have found one, with learning deep enough, and subtle enough, and comprehensive enough to be able to claim his own immortal progeny--undwarfed, unblinded, undeprived of one ray or dimple of that all-pervading reason that informs them, and absolute in their numbers as he conceived them.
KNIGHTS OF THE HELMET
This "invisible" Order, dedicated to Pallas Athene, seems to have started at Gray's Inn*. The names "William" and "Wilhelm" are derived from the word "Helmet". It seems that Francis Bacon was the acknowledge leader of a talented group, and that Ben Jonson eventually became his "My Man John". Anthony Bacon and Tobie Matthew were obviously trusted members and I am willing to believe that the Earls of Oxford, Southampton, Derby, Pembroke and Montgomery were also associated with this group.
_________
Gesta Grayorum (1688) page 10.
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But the real tower of strength behind it--philosophically, legally and academically--was the genius of Francis Bacon; of this I feel reasonably convinced. For four of the Folio plays I claim Baconian authorship unreservedly; for Love's Labour's Lost, which was one of the earliest, and for Julius Caesar, Coriolanus and The Tempest, which were among the last printed. I claim these plays for Bacon, firstly because he was the only great English writer who had been personally acquainted with the Court of Navarre during his younger days in France. Secondly because, later in life, he was the only English House of Commons man, courtier and social thinker capable of conceiving Coriolanus as a calculated deviation from Plutarch, and also because Coriolanus and Julius Caesar seem to me to be the plays of a great orator. Thirdly because The Tempest (like his own New Atlantis) was partly inspired by his personal and close association with the Virginia Company.
* * * * * *
The external evidence for Bacon is of a kind which is not available in the case of any other candidate. Not only are there contemporary manuscripts extant in Bacon's hand, but many parallels with the plays exist in his acknowledged writings.
Marlowe, educated at Canterbury and Cambridge, is a more difficult problem. Certainly the plays ascribed to him are the nearest approach to the Shakespearean drama in our literature. Although not to be compared with Shakespeare at his best, yet often it is the same voice that sings. The greatness of planning is also there (as Goethe remarked), but the more subtle delineation of character has not reached maturity. As a competent villain, Dr. Faustus is hardly a match for Iago or Richard III. Marlowe's plays strike one as the work of a younger man or perhaps even of the same man at an earlier stage. Did he really write them, or were they fathered on him after his untimely death? It is impossible to be certain about Marlowe; we know too little about him; and his literary reputation, as we have said, is entirely posthumous. Not a single play was credited to him while he lived.
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Oxford, moving in Court circles, had a more likely background. Bacon, moving freely in Court and Commons as well, had an even more likely one; and for him we also have the vast evidence of his own writings. To those who cannot perceive these identities of thought, philosophy, diction and imagination, we can make no further appeal; for beyond the evidence we cannot go. To persuade you further by eloquence or art is not for us. Prospero has long since doffed his magic robe; the pageant is ended, and his last prayer, expressed in his epilogue, is for liberation through your understanding. Let your indulgence set him free.
* * * * * *
Versatility in style is a prerogative of great art. Let it not trouble us that the Bard may have been one of England's greatest lawyers. Is there not (as O'Connor pointed out) a vast difference between A Lawyer's Farewell to his Muse and the same Sir William Blackstone's Commentaries ? Is there not a difference in style between Sir Walter Raleigh's Cabinet Council and that ringing poem The Soul's Errand, or between Coleridge's Aids to Reflection and the unearthly Kubla Khan?Does the prose of Shelley's Defence of Poetry--however raised in style--compare with the wild loveliness of the Ode to the West Wind ?
Title Page of Bacon's Advancement of Learning
In The First Continental Editions of
1645, 1652,1654,1662
"The Dionysian Procession must enter the Temple"
(Delia Bacon)
DE AUGMENTIS SCIENTIARUM, 1645
(detail from page 31)
On the cloak which falls over Bacon's foot there is a human face outlined in small dots. This is visible with the naked eye in all copies dated 1645. Is it a symbol of the sun? Or is it a jester with the conventional cap and bells, and a counterpart to the Tragic Muse above? Who deciphers them?
[The De Augmentis Scientiarum is the completed edition in nine books of the Advancement of Learning in two books published in 1605]  
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Look once again at the title page of Bacon's De Augmentis opposite. Was the Dutch artist merely amusing himself, or did he express a hidden meaning? Assuredly he points to a restoration of the Mysteries. He suggests unmistakably that the ancient dramatic method of teaching had been reintroduced by Bacon as a parallel to the direct teachings of history and science. For, while pointing to the open text he calls us secretly to the Athenian Hill, through the medium of the tragic Muse; and at his foot is the symbol of the Jester. Surely it is the Shaker of the Spear--the Grand Master of the Knights of the Helmet himself--who sits in that chair. In this one careful engraving the artist reveals Bacon's dual literary purpose. Arts and Sciences, like Tragedies and Comedies, are made of one Alphabet.
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END
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