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54 FRANCIS BACON'S CRYPTIC RHYMES learned circles. Thus, for instance, a serious poem written in English by an anonymous author of the fourteenth or fifteenth century, concludes with eight prettily rhymed Latin verses : Omnia terrena, Per vices sunt aliena : Nescio sunt cujus, Mea nunc, eras hujus et hujus. Die, homo, quid speres, Si mundo totus adheres; Nulla tecum feres, Licet tu solus haberes. Here, two couplets are followed by four successive rhymes ; all the words are bi-syllabic. An English " Virelai " shows similar rhymes. It is probably from the pen of Chaucer, and is forty lines long. We here quote eight lines from the middle, which will suffice to show the abundance of rhymes : Infortunate Is soo my fate, That (wote ye whate ?) Out of mesure My life I hate : Thus desperate, In suche pore estate Do I endure. The word "mesure"' (now mea'sure) resembles the French word in sound ; for the Normans introduced it \ from France. With the accent on the last syllable, it rhymes to the word " endure." " Whate " (our modern "what") is wedded to five other rhymed verses, for in eight lines we discover no fewer than six rhymes on " ate," " whate " being one of them.
FRANCIS BACON'S CRYPTIC RHYMES 55 No wonder the delight in rhyming was shared by England's greatest poet, the author of the Shakespeare Plays. Both his epic poems " Venus and Adonis " and " Lucrece " abound with rhyme. Both are written in iambic verses of five feet, one in six-lined, the other in seven-lined stanzas. The " Sonnets," of course, also rhyme throughout! But the desire to write in rhymed verse did not exhaust itself in these poems ; it continued to exert its influence over Britain's greatest genius in his plays ; and although the rhyme occurs more frequently in the comedies than in the tragedies, we all know how often even a tragic scene concludes with one or several couplets. We need only turn up any part in a play to find an abundance of such rhymed passages. In this respect Schiller may be said to have followed in the footsteps of the English poet, for he also is very fond of rhyming the concluding lines of a scene or act. The desire to rhyme displays itself most strikingly and to the best advantage in the comedies, which afforded the poet every opportunity of utilising popular wit and rhyme. In evidence of our argument, we would quote the ludicrous verses uttered by Pyramus, the hero represented by the Athenian pedant, as he stabs himself : Come, tears, confound ; Out, sword, and wound The pap of Pyramus, Ay, that left pap, Where heart doth hop : Thus die I, Now am I dead, Now am I fled ; [Stabs himself.'] thus, thus, thus.
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- FRANCIS BACO CRYPTIC RHY AND THE
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would like to express my heartfelt
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FRANCIS BACON CONFESSES, IN THE PRE
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FRANCIS BACON'S CRYPTIC RHYMES in a
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IX FRANCIS BACON'S ESSAY-RHYMES, AN
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1 63 been hurling darts of sharpest
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To take the saft'st occasion by the
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which rhyme : It is generally bette
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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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