Andrew Lang

“ No contemporary calls him scholarly; the generation of men who were small boys when he died held him for no scholar. The current English literature of his day was saturated with every kind of classical information; its readers, even if Latinless, knew, or might know a world of lore with which the modern man is seldom acquainted. The ignorant Baconian marvels: the classically educated Baconian who is not familiar with Elizabethan literature is amazed. Really there is nothing worthy of their wonder.
Does any contemporary literary allusion to Shakespeare call him “learned”? ”

“ But why should it not appear if Will sold either his own plays, or those of the noble friend to whom he lent his name and personality—to Henslowe? Why not?
Then consider the figure, to my mind impossible, of the great “concealed poet” “of high position,” who can “bring out original plays of his own,” and yet “takes the works of others,” say of “sporting Kyd,” or of Dekker and Chettle, and such poor devils,—takes them as a Yankee pirate-publisher takes my rhymes,—and “rewrites and transforms them.” ”

“ Let me quote what Sir Walter Raleigh says: [97a] “Shakespeare was one of those swift and masterly readers who know what they want of a book; they scorn nothing that is dressed in print, but turn over the pages with a quick discernment of all that brings them new information, or jumps with their thought, or tickles their fancy. Such a reader will have done with a volume in a few minutes, yet what he has taken from it he keeps for years. He is a live man; and is sometimes judged by slower wits to be a learned man.” ”

“ Greenwood finds the young Shakspere impossible—because of his ignorance—which made him such a really good pseudo-author, and such a successful mask for Bacon, or Bacon’s unknown equivalent. The Shakspere of later life, the well-to-do Shakspere, the purchaser of the right to bear arms; so bad at paying one debt at least; so eager a creditor; a would-be encloser of a common; a man totally bookless, is, to Mr. Greenwood’s mind, an impossible author of the later plays. ”

“ 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. ”

“ Any clever man might do as much, not to speak of a man of genius. “And yet, alas, there is no record or tradition of all this prodigious industry. . . . ” I am not speaking of “prodigious industry,” and of that—at school. In a region so non-literary as, by his account, was Stratford, Mr. Greenwood ought not to expect traditions of Will’s early reading (even if he studied much more deeply than I have supposed) to exist, from fifty to seventy years after Will was dead, in the memories of the sons and grandsons of country people who cared for none of these things. ”

“ There is no evidence that he did love Shakespeare, except his own statement, when, according to the Baconians, he is really speaking of Bacon, and, according to Mr. Greenwood, of an unknown person, singularly like Bacon. Consequently, unless we can prove that Ben really loved the actor, he is telling a disgustingly hypocritical and wholly needless falsehood, both before and after the death of Bacon. To be silent about the authorship of a book, an authorship which is the secret of your friend and patron, is one thing and a blameless thing. ”

“ The more a man was notorious, as was Will Shakspere the actor, the less the need for any critic to tell his public “who Shakespeare was.”
As Mr. Greenwood tries to disable the evidence when Shakespeare is alluded to as an author, so he tries to better his case when, in the account-book of Philip Henslowe, an owner of theatres, money-lender, pawn-broker, purchaser of plays from authors, and so forth, Shakespeare is not mentioned at all. Here is a mystery which, properly handled, may advance the great cause. ”

“ Supposing that Shakespeare obtained his knowledge of fine manners and speech, and of the tedious quips and conceits which he satirises, from the contemporary poems, plays, and novels which abounded in them, and from précieux and précieuses who imitated them, as I suggest, even then Love’s Labour’s Lost is an extremely eccentric piece. I cannot imagine how a man who knew the foreign politics of his age as Bacon did, could have dreamed of writing anything so eccentric, that is, if it has any connection with foreign politics of the time. ”

“ We now come to consider another “miracle” discovered in the plays,—a miracle if the actor be the author. The new portent is the courtliness and refinement (too often, alas! the noblest ladies make the coarsest jokes) and wit of the speeches of the noble gentlemen and ladies in the plays. To be sure the refinement in the jests is often conspicuously absent. How could the rude actor learn his quips and pretty phrases, and farfetched conceits? This question I have tried to answer already,—the whole of these fashions abound in the literature of the day. ”

“ He does not affirm, and he does not deny, that Bacon had a share, greater or less, in the undertaking.
In my brief tractate I have not room to consider every argument; to traverse every field. In philology I am all unlearned, and cannot pretend to discuss the language of Shakespeare, any more than I can analyse the language of Homer into proto-Arcadian and Cyprian, and so on. Again, I cannot pretend to have an opinion, based on internal evidence, about the genuine Shakespearean character of such plays as Titus Andronicus, Henry VI, Part I, and Troilus and Cressida. ”

“ Greenwood does not commit himself to anything positive. We shall find (if I am not mistaken) that Mr. Greenwood regards the hypothesis of the Baconians as “an extremely reasonable one,” [7a] and that for his purposes it would be an extremely serviceable one, if not even essential. For as Bacon was a genius to whose potentialities one can set no limit, he is something to stand by, whereas we cannot easily believe—I cannot believe—that the actual “Author,” the “Shakespeare” lived and died and left no trace of his existence except his share in the works called Shakespearean. ”

“ Do what is impossible to whom? To the critics, the men of common sense.
Alas, all this way of talking about “miracles,” and “the impossible,” and “genius” is quite vague and popular. What do we mean by “genius”? The Latin term originally designates, not a man’s everyday intellect, but a spirit from without which inspires him, like the “Dæmon,” or, in Latin, “Genius” of Socrates, or the lutin which rode the pen of Molière. “Genius” is claimed for Shakespeare in an inscription on his Stratford monument, erected at latest some six years after his death. ”

“ The mere fact that the dedication was accepted, and followed by that of Lucrece, proves that the Earl did not share the surprise of Mr. Greenwood. He, conceivably, will argue that the Earl knew the real concealed author, and the secret of the pseudonym. But of the hypothesis of such a choice of a pseudonym, enough has been said. Whatever happened, whatever the Earl knew, if it were discreditable to be dedicated to by an actor, Southampton was discredited; for we are to prove that all in the world of letters and theatre who have left any notice of Shakespeare identified the actor with the poet. ”

“ Here we find, if Will wrote it, or had any hand in it, the greatest poet of the modern world in touch with the heroes of the greatest poet of the ancient world; but the English author’s eyes are dimmed by the mists and dust of post-Homeric perversions of the Tale of Troy. The work of perversion began, we know, in the eighth century before our era, when, by the author of the Cypria, these favourite heroes of Homer, Odysseus and Diomede, were represented as scoundrels, assassins, and cowards.
In the Prologue to the play (whosoever wrote it) we see that the writer is no scholar. ”

“ Perhaps few modern men of letters who are scholars differ from them. The opinion of Mr. Collins is to be discussed presently, but even he thought Shakespeare’s scholarship “inexact,” as we shall see.
I conceive that Shakspere “knew Latin pretty well,” and, on Ben Jonson’s evidence, he knew “less Greek.” That he knew any Greek is surprising. Apparently he did, to judge from Ben’s words. My attitude must, to the Baconians, seem frivolous, vexatious, and evasive. I cannot pretend to know what was Shakspere’s precise amount of proficiency in Latin when he was writing the plays. ”

“ To this volume I turn for the exposition of the theory that “Will Shakspere” (with many other spellings) is an actor from the country—a man of very scanty education, in all probability, and wholly destitute of books; while “William Shakespeare,” or with the hyphen, “Shake-speare,” is a “nom de plume” adopted by the Great Unknown “concealed poet.”
When I use the word “author” here, I understand Mr. Greenwood to mean that in the plays called “Shakespearean” there exists work from many pens: owing to the curious literary manners, methods, and ethics of dramatic writing in, say, 1589–1611. ”

“ Collins’s case can only be judged by readers of his most interesting Studies in Shakespeare. To me, Hamlet’s soliloquy on death resembles a fragment from the Phœnix of Euripides no more closely than two sets of reflections by great poets on the text that “of death we know nothing” are bound to do,—though Shakespeare’s are infinitely the richer. For Shakespeare’s reflections on death, save where Christians die in a Christian spirit, are as agnostic as those of the post-Æschylean Greek and early Anglo-Saxon poets. ”

“ Only dullards, or the unthinking, can be surprised by the ease with which a quick-witted man, having some knowledge of Latin, can learn to read a novel in French, Italian, or Spanish. That Shakespeare was the very reverse of a dullard, of the clod of Baconian fancy, is proved by the fact that he was thought capable of his works. For courtly manners he had the literary convention and Lyly’s Court Comedies, with what he saw when playing at the Court and in the houses of the great. ”

“ A “concealed poet” looking about for a “nom de plume” and a mask behind which he could be hidden, would not have selected the name, or the nearest possible approach to the name, of an ignorant unread actor. As he was never suspected of not being the author of the plays and poems, Will cannot have been a country ignoramus, manifestly incapable of poetry, wit, and such learning as the plays exhibit. Every one must judge for himself. Mr. Greenwood fervently believes in what I disbelieve. ”

“ The concealed poet had to negotiate with the owners, and Bacon (or whoever he was) employed that scamp Will Shakspere, first, I think, to extract the plays from the owners, and then to pretend that he himself, even Will, had “rewritten and transformed them.”
What an associate was our Will for the concealed poet; how certain it was that Will would blackmail the “man in high position”! “Doubtless” he did: we find Bacon arrested for debt, more than once, while Will buys New Place, in Stratford, with the money extorted from the concealed poet of high position. ”

“ Such a man cannot be kept from books.
If the reader will look into “the translations and imitations of the classics which poured from the press . . . the poems and love-pamphlets and plays of the University wits” (when these chanced to be printed) , “the tracts and dialogues in the prevailing taste,” [288b] he will understand the literary soil in which the genius of Shakespeare blossomed as rapidly as the flowers in “Adonis’ garden.” ”

“ Well, we ask, if your Unknown, or Bacon, or Ben,—instructed by Bacon, or by the Unknown,—edited the Folio, how could any one of the three insert Titus, and Henry VI, and be “in no little doubt about” Troilus and Cressida? Bacon, or the Unknown, or the Editor employed by either, knew perfectly well which plays either man could honestly claim as his own work, done under the “nom de plume” of “William Shakespeare” (with or without the hyphen) . Yet the Editor of the Folio does not know—and Mr. Greenwood does know—Henry VI and Titus are “wrong ones.” ”

“ THAT IMPOSSIBLE HE—THE SCHOOLING OF SHAKESPEARE
The banner-cry of the Baconians is the word “Impossible!” It is impossible that the actor from Stratford (as they think of him, a bookless, untutored lad, speaking in patois) should have possessed the wide, deep, and accurate scholarship displayed by the author of the plays and poems. It is impossible that at the little Free School of Stratford (if he attended it) , he should have gained his wide knowledge of the literatures of Greece and Rome. ”

“ The natural mind of the ordinary man explains all by saying, “Henslowe records no loans of money to Shakspere the actor, because he lent him no money. He records no payments for plays to Shakespeare the author-actor, because to Henslowe the actor sold no plays.” ”

“ The theory that Francis Bacon was, in the main, the author of “Shakespeare’s plays,” has now been for fifty years before the learned world. Its advocates have met with less support than they had reason to expect. Their methods, their logic, and their hypotheses closely resemble those applied by many British and foreign scholars to Homer; and by critics of the very Highest School to Holy Writ. Yet the Baconian theory is universally rejected in England by the professors and historians of English literature; and generally by students who have no profession save that of Letters. ”