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i62 FRANCIS BACON'S CRYPTIC RHYMES Gertrude, in order to marry her. Augustus had done exactly the same with Livia's first husband. Finally, two of the names coincide, for Tiberius' full name is "Tiberius Claudius" the same as his father's was. Thus we find a Claudius family both in the Essay and in the tragedy, each consisting of three persons related in exactly the same manner to each other, in each case the father of the prince having been done away with.* Thus, in this remarkable Essay, we find at once the best commentary on the chief characters in the tragedy, allusions to the various sources drawn upon and the originals used in delineating the characters, and last, not least (for this part is written in rhymed verse), we discover the author defending his reasons for dis simulating. How many traits of character may not our Francis have had in common with his Hamlet ; how often may he not also have experienced and felt the disadvantages of his powers of dissembling But they ! will also be found to resemble each other in the bright side of their character. We need only call to mind that part of the tragedy in which the actors appear for the first time. Hamlet, who but a moment before was the austere simulator, who in his feigned madness had * In his " Historia Vitae et Mortis " (" History of Life and Death"), which appeared in the same year as the first Shakespeare Folio Edition (1623), Bacon calls the Emperor Augustus and his wife Livia by the direct name of " actors." Speaking of the Emperor, he says that he looked upon his life as a drama (fabula), and that he had requested his friends to award him applause (Plaudite !) so soon as he was dead. And the Empress Livia whom (of he says that she did not object to the cunning art practised by her husband and by her son) he calls "mima" (actress) twice, in immediate succession.
1 63 been hurling darts of sharpest derision and scorn at old Polonius, changes, and simply beams with hilarity and amiableness, the instant the actors are there. And, as his object is to reveal the murder, the prince himself it is who, with the hand of the adept, so recasts the old play to be performed as to bring in the scene which he requires for his purpose. Hamlet also, like and a man who Bacon, is at once a concealed poet remodels old plays and interpolates parts to suit his end. The next of the new Essays of the year 1625 is the ninth, entitled " Of Envy," a word we have already met with in the concluding part of the " Essay, Of Death." In order to escape envy, one at times disguises one's name. Here we find the same thought expressed in a clearer form, however, in as far as the character of the person employed as the best decoy is described in detail. For the principal section of the whole Essay (which, moreover affords us a great deal of information on the plays) is that in which the word " Stage " occurs : As we said in the beginning, that the Act of Enuy, had somewhat in it, of Witchcraft; so there is no other Cure of Enuy, but the cure of Witchcraft. And that is, to remoue the Lot (as they call it) and to lay it upon another. For which purpose, the wiser Sort of great Persons, bring in ever upon the Stage, some Body, upon whom to derive the Enuie, that would come upon themselues ; Sometimes upon Ministers and Servants ; Sometimes upon Colleagues and Associates ; and the like ; And for that turne, there are never wanting, some Persons of violent and undertaking Natures, who so they may have Power, and Businesse, will take it at any Cost. The expression "to remove the Lot" is used in cases
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UNIVERSITY OF TORONTO LIBRARY ONTAR
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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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ightful FRANCIS BACON'S CRYPTIC RHY
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2i 8 FRANCIS BACON'S CRYPTIC RHYMES
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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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