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220 FRANCIS BACON'S CRYPTIC RHYMES writings to the poetry of his plays. How rarely does he remark that this or that passage or thought reminds him of Shakespeare But the naivete of Mr. ! Spedding's words (vol. i. p. 519) : Shakespeare's plays, of which, though they had been filling the theatre for the last thirty years, I very much doubt whether Bacon had ever heard, is enough to make one's hair bristle. Although the Shakespeare Plays had been filling the London theatres for thirty years, Mr. Spedding doubts whether Bacon had ever heard of them ! Is not that equivalent to saying that Bacon was more ignorant than any London schoolboy of his day ? And how came he to make this astonishing remark ? Simply because Mr. Spedding nowhere discovered the name of Shakespeare in Bacon's works.* The reader of this book can account for that ; but Mr. Spedding was strangely misled through his Let us just for superficial and hurried manner of reading. a moment try to realise the actual meaning of Mr. Spedding's words. The plays had been performed for decades in the public theatres, and Bacon knew London life better than any other living being. The plays had been performed for decades at Court on festive occasions, and Bacon was a constant attendant at Court. The words "theatre" and "stage" are constantly occurring in Bacon's writings Bacon took a delight in everything connected with the theatre, and wrote in glowing terms of praise on the art of poetry. And you mean to say that same Bacon knew nothing of " Shakespeare " ? It is impossible to acknow ledge that man an ideal editor, who so misunderstands, so misrepresents his author, as Mr. Spedding does Bacon. 5. And now of the passage in which Mr. Spedding himself * In the same manner, Mr. Spedding might also have proved that Bacon had never heard of Ben Jonson and Ben Jonson's plays ; neither is the name of Ben Jonson anywhere to be discovered in Bacon's works and letters^ though Ben Jonson was his friend and collaborator and had dwelt with him for five years. for
APPENDIX TO CHAPTER I 221 confesses that there is I something may here at once add something " very important" which he does not know. The short, momentous sketch of Bacon's life, written by his secretary Kawley, was not published till 1657, as intro duction to the compilation entitled " Resuscitatio." In the year following, Rawley published that sketch as introduction to a little Bacon volume printed in Holland, " Opuscula Philosophica," in Latin, and reprinted it in another little book, " Opuscula Varia Posthuma Francisci Baconi," Amsteledami, 1663." This "Vita Baconi," a highly important document, as it deviates in the Latin version in many respects from the English original, Mr. Spedding omits from his fourteen-volumed edition, thus only furnish ing us with a " Life of Bacon " in the English version, first appeared in London in 1657. Those Dutch editions terminate with the sentence : as it Quamvis autem Corpus quod deposuit, Mortale fuerit, Libri tamen ejus & Memoria haud dubie perennes erunt, neque prius fatis cessuri, quam Orbis terrarum machina dissolvatur. The concluding words of the English edition of 1657 are : But howsoever his Body was mortal, yet no doubt his Memory and Works will live, and will in all probability last as long as the World lasteth. In order to which I have endeavor'd (after my poor Ability) to do this Honour to his Lordship, by way of enducing to the same. So that, whereas the English version merely says that the Memory and Works of Bacon will " last as long as the World lasteth," the Latin editions published in Holland end with an allusion to the Theatre " : They will not yield to fate, until the theatrical machinery of the globe is dissolved." " Machina," jurj^ai/^ in Greek, signifies the theatrical or stage- machinery, upon which the gods, in tragedy, descended (were let down) from above on to the stage, hence the saying : " Deus ex machina." The English edition then adds the above-mentioned stilted sentence,
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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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