download PDF version: 47.1MB - Global Grey

More documents

Recommendations

Info

66 FRANCIS BACON'S CRYPTIC RHYMES Schlegel translates without rhyme and rhythm thus : Ich bitte dich, lass ihn nur, wir werden ihrer gleich noch mehr kriegen. The following is probably a more correct trans lation : Poines, stOr' ihn nicht so sehr, Bald warden's ihrer mehr. FalstafFs speech is then suddenly interrupted by the loquacious Poines (that is how his name is spelt in the Folio Edition). The continuation of Falstaffs speech opens with a droll rhyme : FALSTAFF. Their Points being broken Down fell their Hose. POINES. FALSTAFF. Began to give me ground ; but I followed close . . ." All the passages hitherto quoted, however, are merely peculiarities of printing, and of but little import, in comparison to what we are now about to consider. Every reader of Shakespeare is aware that the delicious story of "Queen Mab," so daintily told by Mercutio (Romeo and Juliet, i. 4), is written in verseform. The modern reader has probably never seen it printed otherwise. There are forty-two verses in all. If, however, he were to turn up the Folio Edition of 1623, he would find a surprise awaiting him. The words are the same, there's no question about that, but they are printed throughout in prose :
FRANCIS BACON'S CRYPTIC RHYMES 67 (The Beginning of the Story of Queen Mab, as printed in the Folio Edition of 1623) : O then I see Queene Mab hath beene with : you She is the Fairies Midwife, & she comes in shape no bigger then Agat-stone, on the forefinger of an Alderman, drawne with a teeme of little Atomies, over mens noses as they be asleepe, &c. No interruption of the lines, no rhyme serve the reader or actor as an index. The poet expects his audience to detect the rhythm ; their ear must tell them : those are verses ! The trick which the Shakespeare Poet played us with unrhymed verses, he also repeats with rhymed lines of greater length than the foregoing. Let us turn to the passage in which Bottom, the weaver (Zettel is a most unfortunate German rendering of Bottom), longs to play the part of the raging Hercules. In the Folio Edition the whole scene is printed in prose two words ; only are rendered promi nent by being in italics instead of in Roman characters, like all the rest : BOTTOM. To the rest yet, my chiefe humor is for a tyrant. I could play Ercles rarely, or a part to teare a Cat in, to make all split the raging Rocks, and shivering shocks shall breake the locks of prison gates, and Phibbus carre shall shine from farre, and make and marre the foolish Fates. This was lofty. Now name the rest of the Players. All modern editors have detected the droll verses abounding in rhymes concealed in prose, and they print accordingly : The raging rocks And shivering shocks Shall break the locks Of prison-gates ;
Page 2:
UNIVERSITY OF TORONTO LIBRARY ONTAR
Page 7 and 8:
- FRANCIS BACO CRYPTIC RHY AND THE
Page 9:
would like to express my heartfelt
Page 13 and 14:
FRANCIS BACON CONFESSES, IN THE PRE
Page 15 and 16:
FRANCIS BACON'S CRYPTIC RHYMES 3 fr
Page 17 and 18:
FRANCIS BACON'S CRYPTIC RHYMES 5 Me
Page 19 and 20:
FRANCIS BACON'S CRYPTIC RHYMES 7 cl
Page 21 and 22:
FRANCIS BACON'S CRYPTIC RHYMES 9 oc
Page 23 and 24:
FRANCIS BACON'S CRYPTIC RHYMES n rh
Page 25 and 26:
FRANCIS BACON'S CRYPTIC RHYMES 13 h
Page 27 and 28: II WHAT WAS FRANCIS BACON'S ESTIMAT
Page 29 and 30: FRANCIS BACON'S CRYPTIC RHYMES 17 P
Page 31 and 32: FRANCIS BACON'S CRYPTIC RHYMES 19 n
Page 33 and 34: FRANCIS BACON'S CRYPTIC RHYMES 21 p
Page 35 and 36: FRANCIS BACON'S CRYPTIC RHYMES 23 t
Page 37 and 38: . [%" ' FRANCIS BACON'S CRYPTIC RHY
Page 39 and 40: FRANCIS BACON'S CRYPTIC RHYMES 27 c
Page 43 and 44: FRANCIS BACON'S CRYPTIC RHYMES 31 B
Page 47 and 48: FRANCIS BACON'S CRYPTIC RHYMES 35 A
Page 49 and 50: FRANCIS BACON'S CRYPTIC RHYMES 37 T
Page 51 and 52: FRANCIS BACON'S CRYPTIC RHYMES 39 a
Page 53 and 54: FRANCIS BACON'S CRYPTIC RHYMES 41 "
Page 63 and 64: ightful FRANCIS BACON'S CRYPTIC RHY
Page 65 and 66: FRANCIS BACON'S CRYPTIC RHYMES 53 F
Page 67 and 68: FRANCIS BACON'S CRYPTIC RHYMES 55 N
Page 71 and 72: FRANCIS BACON'S CRYPTIC RHYMES 59 C
Page 73 and 74: FRANCIS BACON'S CRYPTIC RHYMES 61 e
Page 75 and 76: FRANCIS BACON'S CRYPTIC RHYMES 63 H
Page 77: FRANCIS BACON'S CRYPTIC RHYMES 65 1
Page 81 and 82: FRANCIS BACON'S CRYPTIC RHYMES 69 m
Page 85 and 86: FRANCIS BACON'S CRYPTIC RHYMES 73 r
Page 89 and 90: FRANCIS BACON'S CRYPTIC RHYMES 77 E
Page 97 and 98: VII THE RHYMES IN FRANCIS BACON'S P
Page 103 and 104: FRANCIS BACON'S CRYPTIC RHYMES 91 a
Page 107 and 108: FRANCIS BACON'S CRYPTIC RHYMES 95 n
Page 109 and 110: FRANCIS BACON'S CRYPTIC RHYMES 97 B
Page 111 and 112: FRANCIS BACON'S CRYPTIC RHYMES 99 i
Page 113 and 114: FRANCIS BACON'S CRYPTIC RHYMES 101
Page 123 and 124: FRANCIS BACON'S CRYPTIC RHYMES in a
Page 129 and 130:
FRANCIS BACON'S CRYPTIC RHYMES 117
Page 131 and 132:
Page 133 and 134:
Page 135 and 136:
Page 137 and 138:
Page 139 and 140:
IX FRANCIS BACON'S ESSAY-RHYMES, AN
Page 141 and 142:
Page 143 and 144:
Page 145 and 146:
Page 147 and 148:
Page 149 and 150:
Page 151 and 152:
Page 153 and 154:
Page 155 and 156:
Page 157 and 158:
Page 159 and 160:
Page 161 and 162:
Page 163 and 164:
Page 165 and 166:
Page 167 and 168:
Page 169 and 170:
Page 171 and 172:
Page 173 and 174:
Page 175 and 176:
1 63 been hurling darts of sharpest
Page 177 and 178:
Page 179 and 180:
Page 181 and 182:
Page 183 and 184:
Page 185 and 186:
Page 187 and 188:
Page 189 and 190:
Page 191 and 192:
To take the saft'st occasion by the
Page 193 and 194:
Page 195 and 196:
Page 197 and 198:
Page 199 and 200:
Page 201 and 202:
Page 203 and 204:
Page 205 and 206:
Page 207 and 208:
Page 209 and 210:
which rhyme : It is generally bette
Page 211 and 212:
Page 213 and 214:
Page 215 and 216:
Page 217 and 218:
Page 219 and 220:
Page 221 and 222:
Page 223 and 224:
Page 225 and 226:
Page 227:
Page 230 and 231:
2i 8 FRANCIS BACON'S CRYPTIC RHYMES
Page 232 and 233:
220 FRANCIS BACON'S CRYPTIC RHYMES
Page 234 and 235:
Page 236 and 237:
Page 238 and 239:
Page 240 and 241:
Page 242 and 243:
Page 244 and 245:
Page 246 and 247:
Page 248 and 249:
APPENDIX TO CHAPTER V TEMPORIS PART
Page 250 and 251:
Page 252 and 253:
2 4o FRANCIS BACON'S CRYPTIC RHYMES
Page 254 and 255:
Page 256 and 257:
Page 258 and 259:
Page 260 and 261:
Page 262 and 263:
EDWIN BORMANN'S WORKS ON BACON-SHAK
Page 264 and 265:
JAN
show all

download PDF version: 47.1MB - Global Grey

Create successful ePaper yourself

Delete template?

Save as template?