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Francis Bacon and his secret society - Grand Lodge of Colorado

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AND HIS SECRET SOCIETY. 109<br />

have been better with me. " T<strong>his</strong> passage was cut out <strong>of</strong> the<br />

fair copy <strong>of</strong> the letter; its original idea appeared next year in<br />

the play <strong>of</strong> Henry VIII.<br />

Ben Jonson describes, in well-known lines, the labour <strong>and</strong><br />

artistic skill necessary for the production <strong>of</strong> mighty verse so<br />

richly spun <strong>and</strong> woven so fit as Shakespeare 1 s. To a pr<strong>of</strong>ound<br />

study <strong>of</strong> Nature, which is<br />

exalted by, " made proud <strong>of</strong> <strong>his</strong> designs,<br />

" must be added the art which arrays Nature in "lines<br />

so richly spun <strong>and</strong> woven so fit:"<br />

" For though the poet's matter Nature be,<br />

His art must give the fashion ;<br />

<strong>and</strong> that he<br />

Who casts to write a living line must sweat<br />

(Such as thine are) <strong>and</strong> strike the second heat<br />

Upon the Muses' anvil ; turn the same<br />

And himself with it, that he thinks to frame ,<br />

Or for the laurel he may gain a scorn<br />

For a good poet's made as well as born.<br />

And such wertthou."<br />

But, as a mere child, he seems to have written, not words<br />

without matter, but matter without art, <strong>and</strong> we can well imagine<br />

him saying to himself in after years :<br />

There is<br />

" Why did T write ? What sin to me unknown<br />

Dipt me in ink, my parents', or my own ?<br />

As yet a child, nor yet a fool to fame,<br />

I lisped in numbers, <strong>and</strong> the numbers came."<br />

not one, not even the poorest, amongst the Shakespeare<br />

plays, which could possibly have been the first or nearly<br />

the earliest <strong>of</strong> its author's efforts in that kind. A careless perusal<br />

<strong>of</strong> some <strong>of</strong> the " mysteries " or play interludes which were<br />

in favour previous to the year 1579 will enable any one to perceive<br />

the wide chasm which lies between such pieces <strong>and</strong>— say<br />

— Titus Andronicus <strong>and</strong> the plays <strong>of</strong> Henry VI. There are<br />

passages in these plays which no tyro in the arts <strong>of</strong> poetry <strong>and</strong> <strong>of</strong><br />

playwriting could have penned, <strong>and</strong> for our own part we look,<br />

not backward, but forward, to the crowd <strong>of</strong> " minor Elizabethan<br />

dramatists" in order to find the crude, juvenile effusions which,

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