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Francis Bacon and his secret society - Grand Lodge of Colorado

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120 FEANCIS BACON<br />

meaning to educated or uneducated ears, to minds prosaic or<br />

poetical, dull in spirit, <strong>and</strong> only to be impressed by plain <strong>and</strong><br />

homely words, or not impressed at all, except the words were<br />

accompanied by gesture <strong>and</strong> action as if the speaker were<br />

" upon the stage " ?<br />

And so <strong>Bacon</strong> was " content to tune the instruments <strong>of</strong> the<br />

muses," that they should be fit to give out melodies <strong>and</strong> harmonies<br />

<strong>of</strong> any pitch, <strong>and</strong> suited to every frame <strong>of</strong> mind. In <strong>his</strong><br />

acknowledged writings (which seem to be an ingenious map <strong>of</strong>,<br />

or clue to, <strong>his</strong> whole body <strong>of</strong> works) we find, as it were,<br />

samples <strong>of</strong> many <strong>and</strong> varied styles <strong>of</strong> writing which he desires<br />

to see studied <strong>and</strong> more perfectly used; <strong>and</strong> although in <strong>his</strong><br />

greatest productions he has built up a noble model <strong>of</strong> language<br />

which the least observant reader must recognise as <strong>Bacon</strong>ian,<br />

yet there are amongst <strong>his</strong> writings some so unlike what might<br />

be expected from <strong>his</strong> pen, <strong>and</strong> so very unlike each other, as to<br />

dispel the idea that <strong>his</strong> many-sided mind required, like ordinary<br />

men, merely a one-sided language <strong>and</strong><br />

#<br />

" style " in which to<br />

utter itself.<br />

The manner <strong>of</strong> speaking or writing which pleases him best<br />

was plain <strong>and</strong> simple, " a method as wholesome as sweet."<br />

But, just as in the poems <strong>and</strong> plays which we attribute to him the<br />

styles are so various as to raise doubts, not only <strong>of</strong> the identity<br />

<strong>of</strong> the author, but even as to various portions <strong>of</strong> the same work,<br />

so the style <strong>of</strong> writing <strong>of</strong> the Gesta Grayorum or the Conference<br />

<strong>of</strong> Pleasure is totally unlike the New Atlantis or the Confession<br />

<strong>of</strong> Faith. Neither is there, at first sight, anything which<br />

would cause the casual reader to identify the author <strong>of</strong> any <strong>of</strong><br />

these with the Wisdom <strong>of</strong> the Ancients, or Life's a Bubble, or<br />

the History <strong>of</strong> the Winds, or the Essay <strong>of</strong> Friendship, or<br />

many more widely different works or portions <strong>of</strong> works known<br />

to have been written by <strong>Bacon</strong>. Because t<strong>his</strong> is known, no one<br />

is so bold or so foolish as to point to the immense differences in<br />

style as pro<strong>of</strong> that one man could not have written all. One man<br />

did write them; no one can challenge the statement, <strong>and</strong> consequently<br />

no question has arisen about t<strong>his</strong> particular group <strong>of</strong><br />

works; yet they differ amongst themselves more than, individ-

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