authors than another. Thus Davies was apt to choose either Plautus or Terence; it was even betting which he selected. But he chanced to choose Terence; and this is “curious,” and suggests suspicions to Mr. Greenwood – and the Baconians. They are so very full of suspicions!
It does not suit the Baconians, or Mr. Greenwood, to find contemporary recognition of Will as an author. 9 Consequently, Mr. Greenwood finds Davies’s “curious, and at first sight, inappropriate comparison of ‘Shake-speare’ to Terence worthy of remark, for Terence is the very author whose name is alleged to have been used as a mask-name, or nom de plume, for the writings of great men who wished to keep the fact of their authorship concealed.”
Now Davies felt bound to bring in some Roman parallel to Shakespeare; and had only the choice of Terence or Plautus. Meres (1598) used Plautus; Davies used Terence. Mr. Greenwood 10 shows us that Plautus would not do. “Could he” (Shakespeare) “write only of courtesans and cocottes, and not of ladies highly born, cultured, and refined?.. ”
“The supposed parallel” (Plautus and Shakespeare) “breaks down at every point.” Thus, on Mr. Greenwood’s showing, Plautus could not serve Davies, or should not serve him, in his search for a Roman parallel to “good Will.” But Mr. Greenwood also writes, “if he” (Shakespeare) “was to be likened to a Latin comedian, surely Plautus is the writer with whom he should have been compared.” 11 Yet Plautus was the very man who cannot be used as a parallel to Shakespeare. Of course no Roman nor any other comic dramatist closely resembles the author of As You Like It. They who selected either Plautus or Terence meant no more than that both were celebrated comic dramatists. Plautus was no parallel to Will. Yet “surely Plautus is the author to whom he should have been compared” by Davies, says Mr. Greenwood. If Davies tried Plautus, the comparison was bad; if Terence, it was “curious,” as Terence was absurdly accused of being the “nom de plume” of some great “concealed poets” of Rome. “From all the known facts about Terence,” says a Baconian critic (who has consulted Smith’s Biographical Dictionary), “it is an almost unavoidable inference that John Davies made the comparison to Shakspere because he knew of the point common to both cases.” The common point is taken to be, not that both men were famous comic dramatists, but that Roman literary gossips said, and that Baconians and Mr. Greenwood say, that “Terence” was said to be a “mask-name,” and that “Shakespeare” is a mask-name. Of the second opinion there is not a hint in literature of the time of good Will.
What surprises one most in this controversy is that men eminent in the legal profession should be “anti-Shakesperean,” if not overtly Baconian. For the evidence for the contemporary faith in Will’s authorship is all positive; from his own age comes not a whisper of doubt, not even a murmur of surprise. It is incredible to me that his fellow-actors and fellow-playwrights should have been deceived, especially when they were such men as Ben Jonson and Tom Heywood. One would expect lawyers, of all people, to have been most impatient of the surprising attempts made to explain away Ben Jonson’s testimony, by aid, first, of quite a false analogy (Scott’s denial of his own authorship of his novels), and, secondly, by the suppression of such a familiar fact as the constant inconsistency of Ben’s judgments of his contemporaries in literature. Mr. Greenwood must have forgotten the many examples of this inconsistency; but I have met a Baconian author who knew nothing of the fact. Mr. Greenwood, it is proper to say, does not seem to be satisfied that he has solved what he calls “the Jonsonian riddle.” Really, there is no riddle. About Will, as about other authors, his contemporaries and even his friends, on occasion, Ben “spoke with two voices,” now in terms of hyperbolical praise, now in carping tones of censure. That is the obvious solution of “the Jonsonian riddle.”
I must apologise if I have in places spelled the name of the Swan of Avon “Shakespeare” where Mr. Greenwood would write “Shakspere,” and vice versa. He uses “Shakespeare” where he means the Author; “Shakspere” where he means Will; and is vexed with some people who write the name of Will as “Shakespeare.” As Will, in the opinion of a considerable portion of the human race, and of myself, was the Author, one is apt to write his name as “Shakespeare” in the usual way. But difficult cases occur, as in quotations, and in conditional sentences. By any spelling of the name I always mean the undivided personality of “Him who sleeps by Avon.”
I
THE BACONIAN AND ANTI-WILLIAN POSITIONS
Till the years 1856–7 no voice was raised against the current belief about Shakespeare (1564–1616). He was the author in the main of the plays usually printed as his. In some cases other authors, one or more, may have had fingers in his dramas; in other cases, Shakespeare may have “written over” and transfigured earlier plays, of himself and of others; he may have contributed, more or less, to several plays mainly by other men. Separately printed dramas published during his time carry his name on their title-pages, but are not included in the first collected edition of his dramas, “The First Folio,” put forth by two of his friends and fellow-actors, in 1623, seven years after his death.
On all these matters did commentators, critics, and antiquarians for long dispute; but none denied that the actor, Will Shakspere (spelled as heaven pleased), was in the main the author of most of the plays of 1623, and the sole author of Venus and Adonis, Lucrece, and the Sonnets.
Even now, in England at least, it would be perhaps impossible to find one special and professed student of Elizabethan literature, and of the classical and European literatures, who does not hold by the ancient belief, the belief of Shakespeare’s contemporaries and intimates, the belief that he was, in the sense explained above, the author of the plays.
But ours is not a generation to be overawed by “Authority” (as it is called). A small but eager company of scholars have convinced themselves that Francis Bacon wrote the Shakespearean plays. That is the point of agreement among these enthusiasts: points of difference are numerous: some very wild little sects exist. Meanwhile multitudes of earnest and intelligent men and women, having read notices in newspapers of the Baconian books, or heard of them at lectures and tea-parties, disbelieve in the authorship of “the Stratford rustic,” and look down on the faithful of Will Shakespere with extreme contempt.
From the Baconians we receive a plain straightforward theory, “Bacon wrote Shakespeare,” as one of their own prophets has said. 12 Since we have plenty of evidence for Bacon’s life and occupations during the period of Shakespearean poetic activity, we can compare what he was doing as a man, a student, a Crown lawyer, a pleader in the Courts, a political pamphleteer, essayist, courtier, active member of Parliament, and so on, with what he is said to have been doing – by the Baconians; namely, writing two dramas yearly.
But there is another “Anti-Willian” theory, which would dethrone Will Shakspere, and put but a Shadow in his place. Conceive a “concealed poet,” of high social position, contemporary with Bacon and Shakespeare. Let him be so fond of the Law that he cannot keep legal “shop” out of his love Sonnets even. Make him a courtier; a statesman; a philosopher; a scholar who does not blench even from the difficult Latin of Ovid and Plautus. Let this almost omniscient being possess supreme poetic genius, extensive classical attainments, and a tendency to make false quantities. Then conceive him to live through the reigns of “Eliza and our James,” without leaving in history, in science, in society, in law, in politics or scholarship, a single trace of his existence. He left nothing but the poems and plays usually attributed to Will. As to the date of his decease, we only know that it must necessarily have been later than the composition of the last genuine Shakespearean play – for this paragon wrote it.
Such is the Being who occupies, in the theory of the non-Baconian, but not Anti-Baconian, Anti-Willians, the intellectual throne filled, in the Will
