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i 4 o FRANCIS BACON'S CRYPTIC RHYMES must be evident to all, after what we have seen and heard, that everything rhythm, profusion of rhyme, : the added words "ships" and " Tempests" point to the stage with might and main. But if the reader should object to our assuming that the author intended the sentence to terminate in a vexing-rhyme, we would refer him to another passage in Bacon's writings, in which he himself adds the word "scene," i.e., "play" or "spectacle" to the same quotation. Bacon also employed this favourite passage from Lucrece in the Latin edition of his "Advance ment of Learning " in " De Augmentis Scientiarum " (1623). But there he begins the Lucrece quotation which he had deliberately altered, at once with the words " : Suave est spectaculum " (it is a delightful spectacle], namely, to see a ship tossed to and fro by the ! tempest Those are not Lucrece's words, Bacon it is who says so, only he puts the words into the old Roman's mouth. Francis Bacon says : It is a delight ful spectacle to see a Tempest ! Will the reader still consider it too bold of us if we read : Suave est spectaculum ! But no pleasure is comparafo7, to the standing, upon the stage : (A hill not to be commanded, and where the Ayre is alwaies cleare and serene ;) And to see the >rours, and Jfawdrings, and Mists, and Tempests in the vail of the scene : (? I) The alterations which Bacon himself made in Lucrece's verses fairly challenge us to do the same with his own words. And surely the alterations we have made are of far less moment than those which
FRANCIS BACON'S CRYPTIC RHYMES 141 Bacon took upon himself to make. Besides, they are in keeping with the thread of thoughts in the Essay, with the rhythm, the rhyme, and last, not least, with Bacon's occult art. But in the same Essay, Bacon immediately follows up the foregoing with an alteration of the most singu lar kind. He commences a quotation from the French essayist Montaigne, with the words : And therefore Mountaigny saith prettily, when he enquired the reason, why the word of the Lie, should be such a Disgrace, and such an Odious Charge ? Saith he ... Wherever did he get the form " Mountaigny " from ? The old way of writing that man's name is " Montagne," the new way "Montaigne," in Latin, " Montaneus." Both " Mount " and the final syllable " y " are Bacon's deliberate alterations, made, well, made for no other earthly reason than for the sake of rhyming : And therefore Mountai^wy saith pretti/y, when he enquir'd the reason, why the word of the Lie, should be such a Disgrace, and such an Odious Charge ? Saith he . . . Thus we see the Frenchman's quotation prefaced by a profusely rhymed verse in French Alexandrines. And Bacon indulges in the same pleasant prank as is played us in the comedy Loves Labours Lost, in which the word "canis" is changed to "canus"for the sake of rhyme. He alters the proper name of " " " " Montaigne to Mountaigny for the rhyme's sake. In brief, wherever we look, we find Shakespeare doing what Bacon does and Bacon doing what Shake speare does. Only one thing both (?) avoid : they never
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would like to express my heartfelt
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II WHAT WAS FRANCIS BACON'S ESTIMAT
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VII THE RHYMES IN FRANCIS BACON'S P
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which rhyme : It is generally bette
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APPENDIX TO CHAPTER V TEMPORIS PART
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2 4o FRANCIS BACON'S CRYPTIC RHYMES
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EDWIN BORMANN'S WORKS ON BACON-SHAK
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JAN
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