are-After all, again, also, as for me, further, hence, now this follows, thence it follows, thus far, &c.

In comparing the earlier and later essays of Bacon the same differences may be observed, but in a minor degree, on account of the style being no longer colloquial.

In the first three essays, Of Studies, Of Discourse, and Of Ceremonies (written 1597-8), there are twenty-eight 'contynuances,' and they are the same as some of those found in Titus Andronicus. They ring the changes upon the following words :And, as if, because, but, for, so, that is, therefore, yet.

But if we turn to the essay Of Simulation and Dissimulation (written in 1625), which contains about the same number of lines as the other three essays together, we find not only all the 'contynuances' which are used in the first three essays, but many others which are also in Henry VIII. and in plays later than Richard III. Such are-Again, in a few words, it followeth,3 it is good that, therefore set it down that,5 to say truth.6

There is no such gradual change or improvement to be seen in other authors of the Elizabethan period.

In Ben Jonson's first play, Every Man in His Humour (acted 1598), the 'contynuances' are effected by means of the same words which are used in Titus Andronicus, with the addition of six other expressions which all occur in plays from The Two Gentlemen of Verona (1591) to the Taming of the Shrew (1594): Is it possible believe me; 'tis true (or you say truly); I'll warrant you; How now? and O Lord, sir. These expressions are all entered in Bacon's Promus.

Let the student turn now to any of Ben Jonson's plays, written in or about 1625, the date of Bacon's latest essay. The Staple of News is the only regular play which Jonson wrote at this date. If this is examined in the same manner as the preceding pieces, no difference or improvement will be found in the ordinary 'contynuances' which are used, but-a noteworthy point —all the forms which appear to have been borrowed from Bacon have disappeared, with the exception of 'How now?'

1 Again, again, ask him his purposes. (Lear, v. 3.)

? In few words. (Tim. Ath. iii. 5.) In few, Ophelia. (Ham. i. 3; and see 2 H. IV. i. 1 ; M. M. i. 1 ; Temp. i.

2.)

(Ham. i. 3.)

(Ham. iii. 4.) "Twere good she were

(Ib. i. 5.)
rep. iv. 6.)

Of the latest of Ben Jonson's works, The New Inn, The Magnetic Lady, A Tale of a Tub, The Sad Shepherd, and The Case is Altered (all written about 1632), the same remarks may be made. The forms of continuation are the same which were in general use at the date when Bacon began to write. The newer and peculiar forms, which he invented or collected with a view to introducing them into his own writings or conversation, have dropped out of Ben Jonson's memory, and the only trace which has been noticed of Bacon's influence on Ben Jonson's language in these later plays is the solitary use, in The Case is Altered, i. 2, of the exclamation 'O Lord, sir!' which forms the Promus entry No. 1405.

Examples have been drawn from the works of Ben Jonson, not because they are more striking than those which can be offered by other authors of the same period, but because his works are so voluminous, and extend over so many years, that they seem to afford the most ample materials for forming a judgment as to the common or rare use of certain expressions. The remarks which have been made apply equally to other contemporary writers.

In Lyly's Euphues (1579-1580), the 'contynuances' are more varied than in any works, excepting Bacon's, until nearly a century later. Besides all the common introductory or continuing words, we find a variety of more elegant forms used once or twice as introductions: but suppose that (or suppose now), but why talk I of this, but here will I rest myself, but I let pass, concerning that,5 hereof it cometh 6 (or followeth), I perceive

1 Suppose, my Lord, he did it unconstrained. (3 Hen. VI. i. 2; ii. 4, 2; iv. 1, 14; v. 5, 18, &c.; eight times.

2 But what talk we of fathers. (As Y. L. iii. 4.) But what talk I of this? (T. Sh. iv. 1; Win. T. iv. 3; Cor. iii. 1; Cor. iv. 6, &c.) What shall I speak of. . . Don Anthony? (Discourse in Pr. of the Qu.; Sped. L. L. i. 135, 138 (rep.), 139, 142 (rep.).

But let it rest. (1 Hen. VI. iv. 1.) I rest perplexed. (Ib. v. 5.) I rest assured. (Jul. Cæs. v. 3, &c.) And so I rest. (Adv. to Duke of Rutland.)

• But let it pass. (L. L. L. v. 1.) But let that pass. (Mer. Wiv. i. 4.) Concerning Jaquenetta. (L. L. L. i. 1.) Concerning this. (Oth. v. 1, &c., twelve times.) Concerning the materials of seditions. (Ess. Of Seditions.) Concerning those that are more or less subject to envy. (Ess. Of Envy.) Concerning the means of procuring unity. (Ess. Of Unity.) • Thereof comes it. (Com. Er. v. 1.) Thereof comes the proverb. (Tw. G. Ver. iii. 1.) Hence comes it that. (Tam. Sh. 2, ind.) Whence comes this restraint. (M. M. i. 3.) Then it follows thus. (Tam. Sh. i. 1.) It follows not. (Tw. G. Ver. iii. 2.) What follows? (John, i. 1.) Then

that, we see that, whereas, what else, not unlike,5 &c. Some of these are entered in Bacon's notes. All are in Shakespeare in some form, and for the most part they are far more frequent than in Lyly.

Supposing that further research should bring to light any of these forms in the works of other Elizabethan authors, it may be safely affirmed that they will be but few and far between; and it would be strange if they were found to have been common or in general use, because there would then have been no reasonable explanation of the fact that Bacon took the trouble to enter them in his note-book, and that they reappeared simultaneously and in increasing numbers in his prose works and in the Plays,

APPENDIX J.

'GOOD-MORROW.'

In the Introductory Chapter to this book it has been said that the earliest use which had been found of the forms 'good-morrow' and 'good-night' is in the titles of two short poems by George Gascoigne, printed in 1587. An earlier instance has, however, been recently met with, and as it is now too late to modify the statement made at page 85, it is necessary to add a few words in this place.

The interlude or dialogue of John Bon and Mast Person 6 opens with these words:

The Parson. What, John Bon! Good morrowe to thee!

John Bon. Nowe good morrowe, Mast Parson, so mut I thee.

it must follow as the night the day. (Ham. i. 1.) What follows? (lb. iii. 4.) Now this follows. (Hen. VIII. i. 1.) What follows. (Ib. v. 1, v. 2, &c., and Essay Of Simulation and Dissimulation).

As we often see.

(Ham. ii. 1, &c.) It is commonly seen that. (Ess.

1 I perceive that, &c., about thirty times in the Plays. 2 Whereby I see that. (Per. ii. 3.) We also see that. (Ess. Of Empire.) Of Faction.)

Whereas. (Promus, No. 1379; Ess. Hen. VII. Devey's ed. p. 347; Declaration of treasons, Sped. Life and Let. ii. 251.)

4 What else? (Promus, No. 307 [rep.], which see for references to the Plays.)

5 Not unlike. (Promus, No. 303, which see for references to the Plays. 6 Edited from the black letter edition (1548) by W. H. Black, and printed for the Percy Society. Mr. R. Foster describes this piece as being 'a bitter satire on the Real Presence.'

а

It will be observed that this is the same form which Jaquenetta uses to Holofernes, L. L. L. iv. 2 (1592). God give you goodmorrow, Master Parson,' a form which, as has been said (p. 86), is repeated by Philip Stubbs in the opening words of his Anatomy of Abuse (1597). In the latter instance the words 'God give you,' which are in Love's Labour's Lost, are added to John Bon's salutation, and these additional words are retained by Philip Stubbs in the opening words of his dialogue, 'God give you goodmorrow, Master Parson.' In none of these instances does it appear that Good-morrow' is used as a morning salutution; rather, as in the earliest instances in Shakespeare, it was a greeting similar to 'God save you, sir,' or 'Save you'; and the first use of 'good-morrow' as a morning salutation seems to be in Romeo and Juliet, i. 1 :

EXTRA QUOTATIONS.

(Some from Edward III. ii. 1.)

17. Blamed, punished, for goodness. (See Sonn. xcvi.)

28. With this she falleth in the place she stood,

And stains her face with his congealed blood. (Ven. Ad. 1. 1121.)

The lion, dying, thrusteth forth his paw,

And wounds the earth, if nothing else. (R. II. v. 1.)

42. Which is that god in office guiding men?

46.

Which is the high and mighty Agamemnon? (Tr. Cr. i. 3.)

You speak o' the people

As if you were a god to punish, not

A man of their infirmity. (Cor. iii. 1; Lucrece, 1. 601.)

O Lord! that lends me life,

Lend me a heart replete with thankfulness;

For thou has given me in this beauteous face

A world of earthly blessings to my soul. (2 Hen. VI. i. 1.)

44. Di danaro, di senno e di fede. (Quoted Spedding, Works, iii. 459.) 50. (Gloucester stabs King Henry.) For this amongst the rest was I

ordained.

K. Hen. Ay, and for much more slaughter after this.

(3 Hen. VI. v. 6.)

59. Punishments in the under-world. (Tw. N. Kins. iv. 3, 28-56.)

78. If in your country's wars you chance to die,

79.

That is my bed, too, lads, there will I die. (Cymb. iv. 4.)

The fatal followers pursue,

And I am faint, and cannot fly their fury. (3 Hen. VI. i. 4.) 81. Mineral wits strong poison.

The Moor already changes with my poison:

Dangerous conceits are, in their natures, poisons,
Which at the first are scarce found to distaste,

But with a little act upon the blood,

Burn like mines of sulphur. (Oth. iii. 3.)

It is a mind

That shall remain a poison where it is,

Not poison any further.

(Cor. iii. 1.)

86. Concords and discords. (Sonn. viii.)

111. The astronomer. (Sonn. xiv.)

113. The cardinal will have his will.

(Hen. VIII. ii. 1, 166; ii. 2, 11.)

115. Since I am crept in favour with myself,

I will maintain it with some little cost. (R. III. i. 2.)

125. Death dissolves. (Ham. i. 2, 129.)

131. There is no fear in him; let him not die. (Jul. Cæs. ii. 1, 190.)

133. How mightily sometimes we make us comforts of our losses.

O benefit of ill! Now I find true

(A. W. iv. 3.)

That better is by evil still made better. (Sonn. cxix.)

Nothing brings me all things.

(Tim. Ath. v. 2; Hen. VIII. iv. 2, 64–66.)

(Comp. 379, 1274.)

135. For my part, the sea cannot drown me. (Temp. iii. 2.)

I prophesied if a gallows were on land this fellow would not drown. (Ib. v. 1; Per. i. 3, 25–29.)

138. Thou snail, thou slug. (Com. Er. ii. 2.)

Fie! what a slug is Hastings. (R. III. iii. 1.)

144. Thanks. (Hen. VIII. ii. 3, 65–71; M. Ado, ii. 3, 251–263.)

152. Not yet mature, yet matchless. (Tr. Cr. iv. 5.)

156. Let no man come to our tent till we have done our conference; Let Lucius and Titinius guard our door.

(Jul. Cæs. iv. 2; Ham. iv. 5, 108-114.)