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to the disease of love, the figure may also be borrowed from Lyly, Sapho and Phao, iii. 3, in which the 'special marks' or signs by which a lover may be recognised, are enumerated somewhat after the manner in which they are described by Speed in the Two Gentlemen of Verona, ii. 1, 12-40, and in other places.

LATIN QUOTATIONS.

None of the texts from the Bible, none of the proverbs from Erasmus, and only three or four of the large number of Latin quotations from the classics which are entered in the Promus have been traced in any of the works which have been read with a view to this question. In the prologue to Epicane, 1609, Ben Jonson says: "I had rather please my guests than my cooks,' and this quotation is alluded to by other writers.

Allusions to Arion, Hercules, Hylas, Penelope, and Proteus are of course to be met with, but nothing has been found which seems have direct relation to any of the passages noted by Bacon. In Lyly's Euphues there is Quæ supra nos nihil ad nos, which forms a note in the Promus.

SALUTATIONS-MORNING AND EVENING.

It is certain that the habit of using forms of morning and evening salutation was not introduced into England prior to the date of Bacon's notes, 1594. The only use of the words 'good-morrow' and 'good-night' which has been discovered before that date is in the titles of two of Gascoigne's short poems-Gascoigne's Good-Morrow, Gascoigne's Good-Night-in edition printed 1587. These pieces are morning and evening hymns, and the expressions are nowhere used as salutations in Gascoigne's writings.

The next instance (excepting Shakespeare) where' goodmorrow' appears, is in Philip Stubb's Anatomy of Abuse, 1597, where two friends, one lately returned from his

travels, proceed to discuss the abuses and fopperies of the age. The greeting is in precisely the same words as those used by Jaquenetta to Holofernes in Love's L. L. iv. 2: 'God give you good-morrow, master person.' The same occurs in Romeo and Juliet, ii. 4.

Beaumont and Fletcher in upwards of forty plays use 'good-morrow' five times, 'good-day' once, 'good-night' four times, good even' once.

Henceforward the use of these expressions, especially "good-morrow,' seems never to have entirely died out, but they were by no means common, and were as often as not used as forms of dismissal or 'good-bye.' 'Good-night' is very rare; it has been found only three or four times between Fletcher's last use of it, in Monsieur Thomas, and the beginning of the nineteenth century.

In Shakespeare, on the other hand, morning and evening salutations are used, as has been already stated, about 250 times.

PLAYS PROFESSEDLY WRITTEN IN SHAKESPEARE'S

STYLE.

Dryden's works are, as a rule, peculiarly devoid of expressions noted by Bacon, although three or four had become tolerably common at the time that Dryden wrote. 'Is it possible?' Believe me,' 'Well' (as a conclusion), and 'What else?' were amongst the commonest of such forms. Yet Dryden uses none of these. 'Good-morrow once in Amboyna, and Good-night' once in The Assignation, are the only expressions which seem to be derived from the Promus.

But there is one exception to this rule. In All for Love (1678) we are startled by suddenly coming upon a number of expressions and ideas which are the subjects of Promus notes. There are at least forty of these, and some of them are repeated. On turning to find some account of this play we discover that it is written in Shakespeare's stile.' Dryden therefore observed certain expressions as

being peculiar to Shakespeare, and introduced them into this play, although he uses them nowhere else. In All for Love we find eight or ten turns of expression, as many similes and metaphors, and about a dozen other points, which are the subjects of entries in the Promus.

The same thing is met with in the works of Nicholas Rowe, a very dull writer, in whose plays, with the one exception which is to be noticed, no trace of anything Baconian is to be found.

The exception is the tragedy of Jane Shore, written in imitation of Shakespeare's stile.' Here are found about ten metaphors or figures of speech which are noted in the Promus; as many reflections on counsel, grief, the rigour of the law, jealousy; on the life of Courts and of poor men's hours; of the owl as a bird of ill omen; avoid,' 'avant,' and 'done the deed '-expressions which there is reason to believe find their originals in Latin words in the Promus. They have been found nowhere else (excepting 'avoid' or 'avaunt' in Ben Jonson). It is to be seen, however, that whereas Dryden adopted Bacon's peculiar turns of expression and used his own ideas, Rowe adopts Bacon's ideas and fails to perceive how much of 'Shakespeare's stile' was dependent upon the use of peculiar forms of expression.

DOUBTFUL PLAYS AND SCENES, &c.

In the poems and plays of Thomas Kyd there are, as a rule, no Baconianisms or Promus notes. But in one play, the Spanish Student, or Hieronimo, there is a scene in which there are about twenty-five Baconianisms. On seeking for some account of this play the following remarks were found in Charles Lamb's English Dramatists: 'These scenes, which are the very salt of the old play (which without them is but a caput mortuum, such another piece of flatness as Locrine), Hawkins, in his

1 The Two Noble Kinsmen and Edward III. have been discussed at page 74.

republication of this tragedy, has thrust out of the text into the notes, as omitted in the second edition, printed for Ed. Allde, amended of such gross blunders as passed in the first,' and thinks them to have been foisted in by the players. A late discovery at Dulwich College has ascertained that two sundry payments were made to Ben Jonson by the theatre for furnishing additions to Hieronimo. (See last edition of Shakespeare, by Reed.) There is nothing in the undoubted plays of Jonson which would authorise us to suppose that he could have supplied the scenes in question. I should suspect the agency of some 'more potent spirit. Webster might have furnished them.' No Promus notes have been traced in any of Webster's acknowledged works.

Nahum Tate, the author of the Paraphrases of the Psalms, is one of the dullest of play-wrights. There is no trace of a Promus note in any of his plays but two, and these two are full of them.

Injured Love is described as being by N. Tate, the author of the tragedy known as King Lear.' It contains about thirty-two Promus notes and many Baconian ideas.

The Island Princess, also attributed to Tate, has at least thirty-seven Promus notes, and many Baconian ideas.

The Miser, published in 1691, and attributed to Shadwell, is another instance of a solitary play (amongst many by the same author) found to contain at least twenty-four Baconian expressions, some of these repeated three or four, or even so many as ten times. One of these expressions is really,' which occurs three times in this play, but nowhere else, excepting in Hamlet, until perhaps a hundred years later.

Sir Thomas More is the name of a play by an unknown author. It bears strong traces of the same master-hand which is seen in the former pieces, and contains many allusions to Promus notes, and many of the small turns of expression which the present writer holds to be tests of Baconian authorship. There are in it one or two allusions

to Promus notes, which have been found nowhere else, and it appears that some of the passages which attracted special attention from their resemblance in thought and expression to passages in Shakespeare inclined able critics to believe (when first this play was discovered and reprinted by the Shakespeare Society') that it was by Shakespeare himself. That idea was rejected, seemingly upon slight grounds, by later critics. The present writer, totally unaware of any previous controversy on the subject, picked out this play from amongst many others by unknown authors, as being full of Baconisms of various kinds, and thickly besprinkled with characteristic expressions which are noted in the Promus.

Last, not least, it is desired that capable critics may be drawn to give especial attention to four plays which are said to have for their author Sir Thomas Heywood, a voluminous writer, whose works are attributed to the years between 1599 and 1656.

Twenty-seven works will be found in the list attached to his name in the Appendix, and it is to the last four of these works that attention is requested. Two of these plays concern events in the reign of Edward IV.; the other two relate (1st part) the imprisonment of Elizabeth by Mary; and (2nd part) the victory over the Spanish Armada, and other events which glorified the reign of Elizabeth. These four plays only, of all that have been studied, whether by Sir T. Heywood alone, or by him and Rowley together, contain an abundance of Promus notes, chiefly from certain particular folios-namely, from the sheets containing turns of expression, from the English proverbs, and from folio 111-Morning and Evening Salutations,' &c. There are upwards of 250 such allusions to Promus notes in the four plays, besides many Baconisms, and several passages which remind one so strongly of well-known passages in Shakespeare that it seems astonishing that these plays should not have been claimed

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