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 THE UNIVERSITY 
 
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 WILLIAM SHAKESPEARE 
 
 THE YOUNG MAN 
 FROM STRATFORD 
 
 A Juryman's View of the 
 Bacon-Shakespeare Controversy 
 
 BY 
 
 HENRY SAINT-GEORGE 
 
 LONDON: 
 
 WM. REEVES, 83 Charing Cross Road, W.C. 
 
 MCMXI
 
 Printed by The New Temple Press, Croydon.
 
 TO THE INCENTOR. 
 
 How oft have you in dispute deep exclaimed 
 ' Would it were true the author of this store 
 Of poesy was really Shakespeare named, 
 Then had we one great Englishman the more." 
 It is to lift this veil of darkness dread 
 That blots the greatness of yourself, good friend, 
 And not to justify the poet lying dead, 
 (For he is justified from start to end) 
 That I have made this book of argument, 
 Hoping to kill the shallow doubts that mar 
 The brightness of your mind. These I resent, 
 Knowing, but for them, how great you are. 
 
 For till you're purged of such foul doubts that press 
 Englaud is one great Englishman the less. 
 
 :
 
 PREFACE. 
 
 LONG years ago the Pilgrim Fathers settled 
 themselves in the New World and heard a 
 strange wild-fowl sing its curiously prophetic 
 note. " Whip-poor-Will, Whip-poor- Will," it cried, 
 and to-day many denizens of that land are whipping 
 poor Will Shakespeare soundly and roundly. "And, 
 not content with this battery of his memory, they 
 would filch from him his fame in order to hand it 
 over to one Francis Bacon, who is already sufficiently 
 endowed in that respect. 
 
 Verily 'tis a queer world, my masters. If this 
 singular craze had been confined to the land of its 
 birth, if Baconianism had never passed beyond the 
 precincts of Chicago — Porkopolis, its most appro- 
 priate birthplace — there would be no need to give 
 it a second thought. But this intellectual trychinosis 
 has been imported into England, and the poison 
 spreads, hence it behoves us to beware and waking 
 to combat its further advance.
 
 vi Preface. 
 
 This poison works by argument, and the safest 
 precaution against infection is to know exactly what 
 argument really is. To change the simile, argument 
 may be called a Court of Law wherein the witnesses 
 are Facts, the lawyers are Inference, Deduction and 
 Analogy, the judge is Analysis, and the jury Man- 
 kind. In this little book that I have ventured to 
 write I hope to have shown that for Shakespeare 
 there are a few lawyers and a few witnesses, while 
 for Bacon there are many lawyers and no witnesses. 
 
 Inference, K.C., can work up many damaging- 
 looking things arising out of various simple, and to 
 average minds, ordinary and easily understandable 
 circumstances, but he is not allowed to give his 
 opinion on the facts that the Circe of the West who 
 first brewed this " lep'rous distilment " bore the 
 significant name of Delia Bacon. We need not 
 speak of her sad end. 
 
 It must be conceded that a loophole is provided 
 for these attacks by the bulk of the devout 
 Shakespeareans, for, instead of boldly looking into 
 the matter and endeavouring to form some reason- 
 able idea as to what manner of man he was, they are 
 content to imagine a William Shakespeare as they 
 would dearly like him to be. This insubstantial 
 wraith can be easily blown away, and the airy 
 victory thus achieved treated as ample proof that
 
 Preface. vii 
 
 the more forceful attacks are equally successful. 
 Hence it is that we find the serried ranks of verbal 
 parallels marshalled with their tin swords flashing 
 fiercely in the sun, the pop-gun artillery of historical 
 parallel, ready to discharge its parched-pea missiles, 
 and the harmless mines of inference which are 
 expected to blast poor Will's reputation as a man 
 of knowledge and observation for ever. 
 
 The verbal parallels I have treated fully in this 
 booklet. The historical parallels are demolished by 
 the axiom "History repeats itself." Histories of 
 men and women, whether in fact or fiction, are an 
 endless chain of repetitions. The world's history is 
 concrete mathematics, and we are wisely denied the 
 formulas of its arithmetical elements, for accurate 
 foreknowledge would rob us of our energies. 
 
 Bacon and Shakespeare— Shakespeare and Bacon. 
 How these two names stand out to the student of 
 genius ! Just as there is no trace of similarity in 
 their writings, so is it impossible to compare the 
 men, save that presumably each had the usual 
 complement of limbs and organs. What would 
 Shakespeare have been had he possessed Bacon's 
 learning ? What, indeed, yet is it not thinkable that 
 his volatile fancy might have been crushed beneath 
 the weight of so colossal a scholarship ? And take 
 the opposite case. What would Bacon have been
 
 viii Preface. 
 
 without his learning? Did his mind possess that 
 radium-like property, that internal energy, that 
 could maintain the brilliant fusillade without 
 recuperation from external sources, or was he not 
 rather an intellectual mill grinding patiently what 
 grain was brought him in his studies, and so making 
 him amanuensis to the thought of his time? 
 
 In Bacon we have that genius which is the 
 "capacity for taking infinite pains," in Shakespeare 
 we find a form of genius which has not yet been 
 classified, and which still defies analysis. 
 
 And now — a grain of comfort for Shakespeareans 
 who are fearful of these onslaughts. Eacon is not 
 the only claimant. Some there are who are con- 
 vinced that the Earl of Rutland wrote the plays. 
 Others are equally positive that one William 
 Shapleigh wrote them, and again others maintain 
 stoutly that Henry Wriothesly, Earl of Southampton, 
 was the real author of these immortal works. Let 
 them fight it out amongst themselves, and, in their 
 mutual demolition, leave William Shakespeare where 
 he stands, untouched, unapproachable, supreme.
 
 INTRODUCTION. 
 
 Fellow Jurymen— 
 
 We have the responsibility of arriving at a 
 definite conclusion in a case of the gravest import- 
 ance and the most immediate necessity : for the 
 authenticity of the personality of our National Bard 
 is a question that should now be set surely at rest, 
 if, indeed, it be ever possible to attain that 
 desirable end. 
 
 First, let me explain the form in which I now 
 address you, and the circumstances that have led 
 to that address. 
 
 I, in common with a large number of people, had 
 been what I would call a Negative Shakespearean. 
 That is to say, I, from force of habit merely, attri- 
 buted the "Shakespeare Plays" to their traditional 
 author. I was certainly dimly aware that there 
 existed somewhere a Baconian cult, but without 
 
 going into the question took the more popular side, 
 
 i 2
 
 2 The Young Man from Stratford. 
 
 and treated all who would dethrone the Swan of 
 Avon with the contemptuous indifference I felt was 
 their only desert. Then it fell out that a Great Friend 
 revealed to me the fearsome fact that he was a 
 staunch Baconian, and furthermore contended that 
 Francis Bacon's authorship of the plays attributed 
 to Shakespeare was a matter that had been " proved 
 up to the hilt," as though anything in this world 
 could claim such certitude ! 
 
 My fast-cooling regard for him was fanned 
 again into a semblance of its former warmth when 
 I discovered that, while upholding the Baconian 
 faction to the fullest, he had as much contempt for 
 the section that toyed with ciphers — bi-literal, or 
 otherwise — as could any victim of " Shakespeari- 
 olatry." I then perceived that there could be 
 Baconians and Baconians, and that the nobler- 
 minded of them might be worthy of attention. My 
 Great Friend thereupon lent me certain books 
 written by lawyers in which was alleged to be proved 
 " beyond the shadow of a doubt " that the Baconians 
 were in the right. 
 
 These books, three in number, were " The Mystery 
 of William Shakespeare," by His Honour Judge 
 Webb, "The Bacon-Shakespeare Controversy," by 
 Lord Penzance and " The Problem of the Shakes- 
 peare Plays," by G. C. Bompas, K.C. These three
 
 Introduction. 3 
 
 powerful advocates of Baconianism have made me 
 a Positive Shakespearean, and in the following 
 pages I propose to show you how. 
 
 The first of these interesting examples of the 
 power of ratiocination is sub-titled " A Summary 
 of Evidence." The second purports to be in the 
 form of a judge's summing up in addressing a jury, 
 and the book by Bompas, while not professing such, 
 is practically a speech for the prosecution. 
 
 And now, dear readers, you know why I address 
 you as fellow jurymen. 
 
 There are further justifications for taking upon 
 myself the quality of juryman in this case. I must 
 frankly state at the outset in self -protection that I 
 am writing on a subject I know very little about. 
 It seems a quaint idea, but its quaintness lies in the 
 acknowledgment only : the practice is common 
 enough in all conscience. And if I lack special 
 knowledge in the way of independent study or 
 research, I must also plead my deficiency in the 
 matter of skill in argument. But what is the cus- 
 tomary procedure in grave cases? On whom rests 
 the onus of the ultimate verdict? On the lawyers 
 — on the judge, himself? Of course not. A certain 
 number of " good men and true," v/ho have known 
 absolutely nothing of the matter in hand before, 
 and who are entirely without legal training, are set
 
 4 The Young Man from Stratford. 
 
 above all these as the fairest deciders. You and I, 
 dear readers, are of their number. Therefore chide 
 me not that I plunge into this dispute with my 
 puny pen, but accept it as the natural outcome of 
 Lord Penzance's "Gentlemen of the Jury!" 
 What are a juryman's qualifications? 
 
 (1). He must be between the ages of twenty-one and sixty. 
 
 (2). He must not be deaf, dumb, or blind. 
 
 (3). He must not be more noticeably imbecile than the 
 
 rest of mankind. 
 (4). He must, to serve in some courts, have paid his 
 
 taxes. 
 
 Barring some slight irregularities in the last par- 
 ticular, I fulfil all these conditions. You will 
 observe that there is no obligation of intimate know- 
 ledge laid down : no obligation of ratiocinary dex- 
 terity. It is merely assumed that a man fulfilling 
 the elementary conditions of health and maturity 
 scheduled above is possessed of that quality of 
 common sense which is ever " the Englishman's 
 proud boast." 
 
 What, after all, is argument? It is but a weapon, 
 and to leave the issue of grave disputes to hang 
 solely on the result of an argumentive ordeal by 
 battle is but to revive the principles of the duello. 
 
 Whether the weapons be swords, pistols, fists or 
 tongues, the superficial victory lies naturally with 
 the more skilful combatant, quite irrespective of the
 
 Introduction. 5 
 
 inherent rights of the question. Hence the need 
 for you and I, my fellow jurymen, who, unbiassed 
 as we are by conventional rules of logic, can, as the 
 proverbial lookers-on, see most of the game, and 
 so be looked to by the litigants, their technically 
 expert and honourably biassed spokesmen, and even 
 the judge, for an intelligent and trustworthy view 
 of the matter in dispute. 
 
 Now, fellow jurymen, more particularly those who 
 are familiar with the three books I have enumerated, 
 we are in the position of having listened to that 
 number of speeches for the prosecution. For, though 
 both Lord Penzance and His Honour Judge Webb, 
 profess to give unbiassed summaries of evidence, 
 leaving the ultimate decision in the reader's hands, 
 I must contend that my description of their writings 
 is more accurate, for they, with consummate skill- 
 skill that has afforded me the greatest entertain- 
 ment — always at the moment of professed impar- 
 tiality throw their whole weight against the " young 
 man who came up from Stratford" as Webb con- 
 temptuously speaks of the poor defendant. 
 
 As I have already confessed, I can bring few- 
 fresh arguments to bear on the matter, but it is my 
 intention or (were it safer to say ?) desire to so dis- 
 sect and expose the various fallacies, absurdities, 
 and, I will go so far as to say, specious methods of
 
 6 The Young Man from Stratford. 
 
 argument displayed by this trio, as to destroy their 
 structures, and by this demolition of powerful 
 antagonism do more for the cause of Shakespeare- 
 anism than any amount of further word-twisting 
 and logic-chopping could do. 
 
 Of the literature on Shakespeare's side I know 
 little beyond what I have seen quoted in the three 
 Baconian works I propose to handle. But, assuming 
 these quotations to be fairly rendered, I quite sym- 
 pathise with the Baconians in their denunciations. 
 For here we find a striking example of how exces- 
 sive zeal and ill-considered advocacy will do more 
 to damage a cause than the most intelligent 
 opposition. 
 
 On the whole there are many details in this dis- 
 cussion over which I feel disposed to echo the famous 
 summing up of the late Mr. Commissioner Kerr — 
 "If you believe the plaintiff, you will find for the 
 plaintiff: if you believe the defendant, you will 
 find for the defendant. But if you think as I do 
 you won't believe either of them." And yet in the 
 trial which provoked that utterance no doubt there 
 was much ingenious arguing on both sides. 
 
 In the mighty discussion concerning the rival 
 claims of Bacon and Shakespeare there appears to 
 be on both sides an attempt to cram palpable sup- 
 position down our throats in the guise of evidence.
 
 Introduction. 7 
 
 It is no more necessary to say that Shakespeare 
 was a lawyer, a student and a model of all the 
 virtues, than it is to declare him no better than an 
 ostler, an illiterate boor and a particularly objec- 
 tionable kind of scamp. When extreme points are 
 made, and forced with excessive asseveration by 
 their respective partisans, the redundant zeal is an 
 obstacle to credence, and I am irresistibly reminded 
 of a saying of my grandfather's — "If he says 'tis 
 true : I believe him. But if he call the Almighty 
 to witness its truth, then I know it to be a lie!"
 
 CHAPTER I. 
 
 I BELIEVE it is the accepted principle of 
 medical experts in mental disease never to 
 accuse patients of their condition. For that 
 reason, if for none other, I will not adopt the usual 
 course of Shakespeare's adherents by saying all 
 Baconians should be safely housed at Hanwell and 
 similar beneficent institutions. If I did take up 
 this attitude I should have to divide them into two 
 sections : the harmless and the dangerous : the 
 cipherists and the evidence-mongers. 
 
 Truly the cipherists are harmless enough, and the 
 class of mind they are likely to influence need not 
 be taken into serious consideration. On the other 
 hand, the evidence-mongers and argument-twisters 
 are a distinct danger, and, if the purblind 
 Shakespeareans' estimate should be justifiable, 
 which I do not believe, then we should have to 
 adopt a Lombrosian view, for they are most 
 astonishingly clever! In fact, I can well under- 
 
 9
 
 io The Young Man from Stratford. 
 
 stand the average man, after having the washy 
 sentimentality and childish chatter of the average 
 type of Shakespearean exposed, being dazzled by 
 the brilliancy of argument and ingenious blending 
 of fact and fancy as shown in the several books 
 under notice, until they unconsciously accept quib- 
 bling for reasoning, and argument for proof. 
 
 The only way I can conceive of treating the 
 matter is to boldly face the fact that to a large 
 extent it is insusceptible of actual proof, and that 
 a large percentage of the facts available will ever 
 remain inscrutable mysteries, notwithstanding the 
 enchanting edifices of supposition for which they 
 may serve as bases. 
 
 Supposition is in the main worthless, yet it is all 
 my trio of legal authorities can fall back upon, even 
 as Sydney Lee and his following. In these circum- 
 stances the only course left for the intelligent and 
 enlightened juryman is to entertain that supposi- 
 tion which is in agreement with tradition, always 
 providing it is not too palpably of the fairy-tale 
 order. And all personality must be left entirely 
 out of the question. To call Shakespeare a dis- 
 solute rogue does not in the least help to prove 
 that Bacon wrote the plays under discussion, nor 
 does calling him a noble-souled student contribute 
 any support to tradition. There are enough authentic
 
 Practice v. Precept. 1 1 
 
 cases on record to show that impure practice can 
 exist in the same person with noble precept. 
 Therefore to say, as these Baconian worthies 
 do, that the only authentic anecdotes of William 
 Shakespeare show him to have been a drinker, 
 and of irregular habits, and consequently in- 
 capable of writing such lines as condemn these 
 things in gloriously inspired diction, is but a 
 paltry method of begging the question. Of the 
 orators it is my pleasure to hear occasionally, there 
 is one who eloquently holds forth in support of 
 temperance, and makes his most convincing exhorta- 
 tions when m that condition described by seamen 
 as "half seas over." Old Plymothians may recall 
 the eccentric and dissolute divine who frankly told 
 his congregations not to do as he did, but as he 
 told them to do. Thus we find no necessity to 
 assume that precept and practice must agree in 
 individuals. Besides, the argument, if it be one at 
 all, cuts both ways. If the libertine could not write 
 exalted sentiment, then, surely, the noble-minded 
 student would have been incapable of descending 
 to those miry depths of diction that have to be 
 excluded from the modern acting editions. 
 
 In calling Bacon noble-minded I am taking him 
 at the appraisement of the writers I am analysing. 
 I have heard some slight whispering as to his
 
 12 The Young Man from Stratford. 
 
 probity and general conduct, but, as they are not 
 treated of by Lord Penzance, His Honour Judge 
 Webb, or Mr. Bompas, I ignore them. What seems 
 the most striking feature of these writer's views is 
 the quaint hibernianism that is so constantly dis- 
 played. We are to believe, for instance, that Bacon, 
 having written his " De Augmentis," " Novum 
 Organum," etc., must needs re-write them in dra- 
 matic form. We are also to believe, forsooth, that 
 Bacon, whilst writing the plays, was so fearful of 
 his authorship being discovered that he filled them 
 with countless unmistakeable clues to that damning 
 fact* 
 
 His Honour judge Webb tries to show that the 
 publication of the Folio of 1623, in Shakespeare's 
 name, with his portrait, and laudatory verses by 
 Ben Jonson, is in itself irrefragible proof that Bacon 
 was the author. 
 
 This, even, is not so bad as the curious frag- 
 mentary quotation, divorced from its context, which 
 His Honour uses as a voluntary confession that the 
 name Shakespeare was merely a nom de plume. 
 Here is shown what danger lies in mechanically 
 trained minds : in making an end of means. It 
 
 * One cannot help thinking of Mr. Winkle before the 
 duel : " Snodgrass, do not let me be baulked in this matter, 
 do not give information to the local authorities," etc.
 
 Value of Analysis. 13 
 
 amply illustrates the theses set forth in Bacon's 
 -''Idola Fori" as to the mal-influence of mere words. 
 For we find that the possibility of constructing an 
 ingenious chain of arguments — pure word-twisting 
 — is treated as sufficient excuse for tilting at long- 
 established and deeply cherished tradition. 
 
 No, my fellow jurymen, we must have the matter 
 approached in a different spirit. There must be 
 more genuine effort to get at the truth, and not so 
 much anxiety to prove a point, however clever that 
 point may be. There is tradition and supposition, 
 and there is argument : all good in their varying 
 degrees, but high over all comes analysis, which is 
 the truer reasoning, and this is our work, jurymen. 
 
 It is by the analysis of the extremely clever argu- 
 ments and suppositions of Penzance, Webb and 
 Eompas, that I hope to show that possible which 
 they deny. These gentlemen contend that Shakes- 
 peare, being illiterate and boorish (pure supposition, 
 by the way), could have had no education, no law, no 
 Latin. If, as I believe I can, I succeed in showing 
 how he could have had all these and more by the 
 destructive criticism of their own statements, I shall, 
 out of the debris of their so demolished fortress, be 
 able to supply for once some really solid material to 
 strengthen the foundations of the Shakespeare edifice.
 
 CHAPTER II. 
 
 SUNDRY writers have at various times pro- 
 duced with much diligence, works purporting 
 to give an accurate record of Shakespeare's 
 life. When we know that all that is with certainty 
 known about this living enigma can be summed up 
 in a paragraph, it is obvious that any book of 
 dimensions styled a " Life of William Shakespeare " 
 must of necessity consist almost wholly of sup- 
 position, if not of downright fabrication. I can 
 see, therefore, that such works, well-meaning though 
 they may be in intent, are a distinct incentive of 
 opposition. 
 
 I have before me as I write a little pamphlet by 
 George Stronach in which he shows, and with much 
 moderation, the vast amount of conjectural padding 
 that goes to make up the "Life" by Sydney Lee.* 
 
 * It must not be forgotten that Lee's book is called " .4 
 
 Life of William Shakespeare." The indefinite article shows 
 
 it is offered as conjecture, and largely disarms criticism. 
 
 14
 
 Shakespeare's " Ignorance^ 1 5 
 
 I heartily agree with almost every stricture of Mr. 
 Stronach's, but when it is proved that Shakespeare 
 has some fulsomely imaginative partisans, we are 
 no nearer the question of the authorship. And if in 
 such a work it be successfully shown that it is even 
 ninety-nine per cent invention, that showing cannot 
 shake the immovable and immutable one per cent 
 of truth. At the same time I can readily under- 
 stand a superficial thinker — a man who thinks by 
 rule and not by nature — -refusing to look for the 
 odd one per cent as a negligible quantity. But the 
 truth is indestructible nevertheless, even though it 
 be not superficially evident. 
 
 Let us now examine the Baconian estimate of the 
 young man from Stratford. What does Lord 
 Penzance say? On page 50 of his "Judicial Sum- 
 mary " — which he acknowledges to be after all a 
 speech for the prosecution — we find the assumption, 
 possibly a logical one, that : " It has been made 
 plain and cannot be disputed that William Shakes- 
 peare was in truth, when he left home for London, 
 an almost uneducated man." 
 
 It might have been the case, and I will admit it 
 as a possibility in spite of the undenied record of 
 his attendance at the Stratford Grammar School. 
 
 On the other hand, His Honour Judge Webb lays 
 it down that "the world is not made ud of might-
 
 1 6 The Young Man from Stratford. 
 
 have-beens, and we cannot accept possibilities as 
 facts." And in his giving out this sententious 
 dictum we find another example showing the contrast 
 between practice and precept in an individual spoken 
 of in the preceding chapter. 
 
 Returning to Penzance, his lordship says on that 
 same page 50 that there is nothing to lead one to 
 suppose that Shakespeare had any taste for litera- 
 ture or learning. But, I contend, neither is there 
 anything to lead one to suppose the reverse. As a 
 plain matter of fact, the road of Shakespeare's life 
 at this period is devoid of milestone or sign-post, 
 and thus it is small wonder that he who would 
 traverse it afresh finds himself oftener in the ditch 
 than on the highway. And, again, I would remind 
 those who have allowed the great learning and 
 eminence of the lawyer to obscure their perceptions 
 of the real issues that we jurymen do not wish to 
 be led to suppose anything. We want something 
 that will induce belief. 
 
 Intelligent supposition is worthy of tolerance, 
 tradition is worthy of respect, and circumstantial 
 evidence is worthy of scrutiny. Nothing but direct 
 evidence is worthy of the fullest credence. 
 
 When Lord Penzance attempts to give an idea 
 of the personal characteristics of Shakespeare as a 
 young man, he gives us something really intelli-
 
 Attendance at Grammar School. 17 
 
 gible. We can all follow the assumption that "he 
 seems to have led the life of a jovial, active-spirited 
 youth bent on enjoying himself mainly in outdoor 
 pursuits (not always indulged within the bounds of 
 the law), and to have been of a merry, convivial 
 nature, with a decided turn for theatricals." This 
 is entirely satisfactory as a sketch of the youth who 
 later developed such brilliant talents. 
 
 Now we come to the question of Shakespeare's 
 education. All that we have any record of is that 
 he attended the Stratford Grammar School for an 
 indefinite period : Bompas says " some years," others 
 are more exact in their statements, if not in their 
 facts, when they say " three years." However, the 
 latter seems to be most generally accepted. But the 
 main point is that his having attended the school is 
 not denied or disputed by the three writers I am 
 criticising. 
 
 He who would enquire whether the youth was 
 what is called in stage-land a " quick study," or 
 whether he was but a dullard is met with blank 
 nothingness. And the over-kind historian who tells 
 us that he learnt Latin and modern languages, 
 equally with the disputant who asserts that he 
 learnt nothing, is providing such information from 
 out the depths of his fertile imagination. 
 
 A clever point made by the Baconians deals with 
 
 3
 
 1 8 The Young Man from Stratford. 
 
 the question of genius. Were the plays solely com- 
 posed of brilliant and inspired poesy, they say they 
 would cease from cavilling at the belief in Shakes- 
 peare's authorship. But, they argue, we find them 
 filled with accurate knowledge of facts, and there- 
 fore they must be the work of a ripe scholar. The 
 Shakespeareans fall, rabbit-like, into the trap, and 
 try by all sorts of romantic shifts and redundant 
 subterfuges to show that William Shakespeare, 
 some time of Stratford-on-Avon, was a student, 
 had travelled, and so forth. 
 
 Dealing with the difference between simple genius 
 and accurate knowledge, Penzance gives an ingeni- 
 ous hypothetical case. " There are a certain number 
 of towns or rivers, let us say in France or Russia. 
 Could a perfectly ignorant man, a man who had 
 read nothing, had been taught nothing, had learnt 
 nothing from his fellow-men, tell the names of 
 these towns or rivers by possessing any amount of 
 mental power or genius?" 
 
 What a syllogism !— absolutely unanswerable— 
 for those who do not wish it answered. Small 
 wonder that the average reader is posed by such 
 ingenious misuse of logic. But, despite the clever- 
 ness of the argument, a moment's examination shows 
 that the premises are obviously unsound : I fail to 
 see by what right his lordship takes it for granted
 
 Speculation vice Fact. 19 
 
 that he has proved Shakespeare to have been a 
 " perfectly ignorant man, a man who had read 
 nothing, had been taught nothing," and, above all, 
 "had learnt nothing from his fellow-men"! This 
 is wanton chop-logic, and reminds one at once of 
 the evergreen horse-chestnut — chestnut-horse quip. 
 
 Observe the characteristic method of taking as 
 proved that which had previously only been assumed, 
 and so dropping in the insidious poison in exquis- 
 itely graduated doses. For instance — " the incapacity 
 of William Shakespeare to have written the plays 
 in the state of ignorance in which he arrived in 
 London having once been established," and again, 
 "starting from a condition of what I must call 
 almost complete ignorance" The italics are mine 
 in each case : they help to draw attention to the 
 slow transformation of speculation into the appear- 
 ance of established fact. And I shall presently 
 show you that Lord Penzance is not the only 
 Baconian who throws such impalpable, but blinding 
 dust in the eyes of his jury. 
 
 He contends, as do most Baconians, and they 
 make their case plausible enough, that such know- 
 ledge, apart from poetic fantasy, is only to be 
 obtained by "years of patient and indefatigable 
 study." " All this is the work of the student? and 
 Lord Penzance doubts whether four or five years'
 
 20 The Young Man from Stratford. 
 
 study would be sufficient for a young man to attain 
 the mental culture displayed by the author of the 
 Shakespeare plays. 
 
 Continuing in the belief that schooling is the sole 
 foundation of literary ability, he says that 
 Shakespeareans must assume that their idol volun- 
 tarily went in for a rigorous course of hard study, 
 and pertinently observes " why in the name of all that 
 is probable or, I might almost say, credible, should 
 this young man, ?dterly untutored and illiterate as 
 he was, have attempted any such thing ?" Again I 
 have italicised the persistence in taking Shakespeare's 
 alleged ignorance for ascertained fact. 
 
 But if we look at the matter dispassionately there 
 is no reason to assume that Shakespeare must have 
 done anything of the kind. I, for one, must 
 confess that I utterly fail to conceive any play- 
 writer having in his early days deliberately gone in 
 for a preliminary course of hard study in order 
 that he might be able some day to write dramatic 
 masterpieces. The idea is too absurd. In fact, it 
 is almost as absurd as his lordship's thinking the 
 Shakespeareans must perforce take up that untenable 
 position if they wish to eschew Baconianism. 
 
 Webb and Bompas are with Penzance on this 
 question of forcing the conclusion that William 
 Shakespeare was an ignorant boor, and that the
 
 Most Odious Comparison! 21 
 
 author of the plays was a scholar and a bookworm. 
 Webb is very rightly most scathing in his denuncia- 
 tions of the fanciful and romantic hero-worship that 
 invests Shakespeare with the halo of studenthood, 
 but I wish he had not been a lawyer. He may be 
 perfectly convinced of his own sincerity, but, like 
 Penzance and Bompas, he speaks from his brief, 
 and tries to make out his case for the Baconians at 
 all hazard. And this in a book called a "summary 
 of evidence"! Here is a fatuous argument that 
 conclusively demonstrates a belief that jurors lack 
 intelligence. We are told of certain of Shakespeare's 
 townsmen who were amongst his schoolmates, and 
 were themselves very ignorant. One of these, 
 Sturley, by name, wrote to Shakespeare; the letter 
 is extant, and contains an erroneous Latin quotation. 
 Now, follow the reasoning : Sturley was twice as 
 long as Shakespeare at Stratford Grammar School, 
 consequently as six years is to three, so is Sturley's 
 knowledge to Shakespeare's. If this is to be the 
 type of argument that they think is to destroy a 
 long-established tradition, then I must deplore their 
 failing to take into consideration the fact that there 
 are people with commonsense in the world. 
 
 I will show you presently how the young man 
 from Stratford could have got his education ; and 
 that by simple inference from the few facts that are
 
 22 The Young Man from Stratford. 
 
 known, and that are not disputed by the Baconians. 
 These people talk about Shakespeare living in a 
 bookless world, and tell us what books were in 
 common use in his day, and what not, as translations, 
 cheap editions, etc. They say he must have had an 
 extensive library in many tongues, and so they prate 
 of books, books, forever books ! A plague on your 
 books ! Is the printer the sole disseminator of 
 knowledge? Is there not the great book of nature 
 everlastingly open for all who have the inward 
 understanding to read, and are not our fellowmen 
 its most enlightening pages?
 
 CHAPTER III. 
 
 BUT, after all, do we not possess absolutely 
 indisputable direct proof that the young 
 man from Stratford did study books, and 
 that to some purpose, too ? What sort of books, do 
 you say ? Why, play-books. Nay, strangle that 
 smile in its birth ; this is no hasty conjecture, no 
 artifice of pretended logic, no supposition in 
 substance, although it may by many be thought so 
 in its alleged effect at first glance. 
 
 Let me lead up to my point by easy stages. The 
 Baconians admit that in his youth Shakespeare 
 evinced a " decided turn for theatricals," and that 
 when apprenticed to a butcher he never slaughtered 
 a calf but he accompanied the action with " tragicall 
 speeches."* From that period we get but one or 
 two isolated glimpses of him, not all of proved 
 authenticity. But from 1592 onwards we find him 
 
 * Did Bacon wi'ite them?
 
 24 The Young Man from Stratford. 
 
 a rising, successful actor, actor-manager and part 
 proprietor of two London theatres. And by 1594 
 he is so far advanced in his art that he performs 
 before the Queen. All this according to Baconian 
 admission. 
 
 Now, just a parenthetic query, is it probable that 
 a " perfectly ignorant man, a man who had read 
 nothing, had been taught nothing, and had learnt 
 nothing from his fellowmen," a man who was 
 illiterate, boorish and provincial in manners 'as 
 alleged) could possibly have risen to such a position 
 in so short a time ? Yet these legal lights admit 
 the one in the same breath that they allege the other. 
 
 Now, as to the condition of the dramatic world 
 in Shakespeare's day : I have no knowledge of it 
 myself, nor is it necessary that, as a juryman, I 
 should have, but Webb repeats the statement, 
 thereby endorsing it, that in those days more plays 
 were produced per month in England than now in 
 all England and America in a year. 
 
 Then we must look into an allied question : what 
 manner of plays were they ? I think no one will be 
 under the impression that there was much of the 
 "What Happened to Make Jones Leave Home "style 
 of thing. The greater part were learned, even at 
 times, pedantic productions. Even the poorer 
 specimens will have made some show of scholarship.
 
 A Man of "Parts" 25 
 
 Think, then, of the numbers he was familiar with on 
 the boards and add to them the no doubt still 
 greater numbers of dramatic efforts written by 
 broken-down scholars, lawyers and other aspirants 
 to theatrical honours, that were read in the 
 managerial sanctum, pigeon-holed, and— left there. 
 Just think what a liberal education this would be to 
 a man of observation and perception, a man who, 
 however he might forget his duty to himself by 
 indulging in questionable practices, was still capable 
 of appreciating and expressing refinement and 
 noble sentiment. Does not Ben Jonson tell us this 
 very fact when he says that Shakespeare redeemed 
 his vices with his virtues ? 
 
 The theory of Shakespeare's boorishness is mere 
 conjecture, and extremely illogical conjecture at 
 that, for much that the Baconians arc forced to 
 admit about him proves the reverse. To-day we 
 might conceive the possibility of an illiterate 
 provincial achieving some distinction in one of the 
 many branches now open for rightly called "low" 
 comedy. But just think of the conditions an actor 
 had to work under in the days of good Queen Bess. 
 Remember that there was no scenic effect to help 
 him, no differentiation of costume to aid in the 
 portrayal of character — in short, none of these 
 adventitious aids that can best be summed up in
 
 26 The Young Man from Stratford. 
 
 the word " limelight." All he had to rely on was 
 his own high elocutionary power to make live in the 
 minds of his audiences the events and emotions he 
 had to render. Acting was high art then, and this 
 was one channel of education that I contend is a 
 proved matter of fact. If you tell me that as it 
 only began in 1592 it commenced too late, I can 
 only answer by conjecture. But if in certain matters 
 the Baconians are to be allowed the use of conjecture 
 unacknowledged, surely I sin not if I confess my 
 weakness. Here is a point of great difficulty and 
 mystery : what of the gaps of five or seven years, or 
 even more that face us prior to 1 592 ? Where was 
 he? Travelling on the Continent, visiting 
 universities, studying medicine or practising law in 
 an attorney's office as some of the perfervid 
 Shakespeareans would have us believe? Well, it is 
 barely possible, but I cannot think it even barely 
 probable. In these periods he may have been many 
 things by turn and nothing long. But what happens 
 in nine out of a dozen cases of "merry, convivial 
 youths with a decided turn for theatricals"? What 
 do you expect when they disappear from sight? 
 My own idea is that some of them enlist, but that 
 the majority join companies of strolling players. 
 Pure supposition, mind, to suggest that the blanks 
 in Shakespeare's record are thus to be filled up,
 
 A Remarkably Able Man. 27 
 
 but, until the Baconians can give me a more probable 
 supposition, I will adhere to this one. I will, 
 however, admit certain other possibilities. Thus he 
 may have been in jail some part of the time: not 
 at all unlikely. Also he may have been glad to 
 pick up a more or less honest penny by holding 
 horses or other menial service. He may have been 
 all these as circumstances willed, but those who say 
 he was wholly unconnected with that great 
 educator, the stage, I will no more entertain than I 
 will those who say he was engaged in improving 
 his mind with a view to becoming a great dramatist. 
 
 True enough, we are, if anything, but little nearer 
 the question of the authorship of the plays. We 
 have only got a reasonable supposition that this 
 form of education began at a period prior to 1592. 
 And we have established the fact that the young 
 man from Stratford who afterwards became so 
 proficient in the delicate art of elocution, and was 
 part owner and manager of the Globe and 
 Blackfriars Theatres, was a remarkably able man, 
 and could by no stretch of imagination be considered 
 a perfectly ignorant man, who had read nothing, 
 had been taught nothing, and had been of such dull 
 perception as to have learnt nothing from his 
 fellowmen. 
 
 We must not forget that we have heredity to give
 
 28 The Young Man from Stratford. 
 
 us a clue to his superior mental attainments. What 
 of that questionable intrigue with the wife of mine 
 host of the " Crown " inn ? The Baconians gleefully 
 recount, as showing what a scamp the reputed 
 author was, how he could easily have been made 
 co-respondent in divorce had mine host been minded 
 to take the trouble. Shakespeare is known to have 
 used the house in his travels, and they tell us the 
 woman was witty above expectation, and of 
 exceeding beauty. There comes a witty customer 
 with perhaps more than a dash of the Lothario, the 
 husband is tolerant, and the inevitable happens. I 
 say the husband is tolerant, for such must have 
 been the case, seeing that with much merriment, 
 apparently, the author of his cuckoldom took the 
 office of godfather to the bastard. Now this easy- 
 going innkeeper had two sons, honestly come by, 
 who to all appearance were of average dullness. 
 Their base-born half-brother, however, had inherited 
 some finer mettle, and was so far superior to the 
 others as to rise to distinction as Sir William 
 d'Avenant, poet laureate. The sons of the innkeeper 
 were boors. Why not the son of the equally boorish 
 player ? Let us hear no more of this pro-boor 
 theory, the crabbed contention falls to the ground 
 in the light of known conditions and events. 
 The meagre array of undenied facts prove that
 
 Ignorance Disproved. 29 
 
 William Shakespeare, of Stratford-on-Avon, must 
 have had sufficient learning to enable him to study 
 a part, sufficient keenness of perception to enable 
 him to render the part, and sufficient initiative to 
 make him in his sphere a ruler of men.
 
 CHAPTER IV. 
 
 SUPERFICIAL essays at reasoning, as well as 
 downright misuse of logical methods, will 
 prompt an objection to the suggestion in my 
 last chapter. The persistent critic, far more ready 
 to assert that Shakespeare did not write the plays 
 than that Bacon did, will come along with his nose 
 two inches above his book, the highest he ever gets, 
 and will argue, nay, grumble, that an extensive and 
 intimate acquaintance with Elizabethan plays 
 might, perhaps, develop latent literary style and 
 assist in the growth of florid utterance. But, he 
 will say, with his mind full of books and their 
 dust, that the man who wrote those plays was 
 familiar with this, that and the other Greek and 
 Latin author, and that these particular works had 
 so far not been translated into English. There is 
 a distinct "facer" for you! It shows how cleverly 
 or ignorantly, as may be thought, these self- 
 appointed scrutineers of history will omit vital 
 
 30
 
 Classical Cant. 31 
 
 facts. A four-legged stool is a good thing, failing 
 that one with three legs is found satisfactory. But 
 remove one leg from the latter, and great is the fall 
 of him who would be supported thereon. And that 
 is exactly the case with this argument as to the 
 knowledge of classic authors in their original 
 tongues. Their ricketty, two-legged perch is thus 
 constructed : certain Greek and Latin works were 
 not translated : some of the plays show knowledge 
 of these works, or, rather, express ideas that in many 
 cases must have been drawn from those sources by 
 some direct or roundabout manner. All this as it 
 stands sounds very plausible, but I will now draw 
 attention to a third fact which all these dis- 
 putants persistently ignore. They never tell us, 
 well as their own " book-larnin'" must make them 
 familiar with the fact, that classical allusion, 
 reference and quotation was the cant of the day. 
 Writers of every shade and colour were so imbued 
 with classicism and so soaked in the Hellenic and 
 Roman mythologies that, in season and out, they 
 could no more refrain from filling their productions 
 with tags of Latin and tropes of Greek than Mr. 
 Dick could keep Charles the First's head out of the 
 historic memorial. And they had not the same 
 desire to do so : it was considered the hall-mark of 
 style. So widespread and persistent was this a
 
 32 The Young Man from Stratford. 
 
 feature of the times that it would not surprise me 
 were it shown that the very gutter snipes prated of 
 Venus, Mars and the rest of the Jovian brood. 
 Indeed, they were so saturated with classic lore, and 
 so free in its employment, that some of the most 
 ludicrous incongruities have been perpetrated in 
 consequence. 
 
 What think you of Ouarles's " Emblems " ? Here 
 we have a book of religious poems for devout 
 Christians, published, roughly speaking, in the 
 same epoch as the Shakespeare plays. I will quote 
 here a portion of the fifth Emblem, which is 
 supposed to be inspired by I Corinthians, vii, 21 : 
 
 Gone are those golden days, wherein 
 
 Pale conscience started not at ugly sin : 
 
 When good old Saturn's peaceful throne 
 
 Was unusurped by his beardless son : 
 
 When jealous Ops ne'er fear'd th' abuse 
 
 Of her chast bed, or breach of nuptial truce : 
 
 When just Astrea poised her scales 
 
 In mortal hearts, whose absence earth bewails : 
 
 When froth-born Venits and her brat, 
 
 With all the spurious brood young Jove begat, 
 
 In horrid shapes were yet unknown ; 
 
 Those Halcyon days, that golden age is gone. 
 
 There was no client then to wait 
 
 The leisure of this long-tailed advocate ; 
 
 The talion law was in request, 
 
 And Chanc'ry Courts were kept in every breast : 
 
 Abused statutes had no tenters 
 
 And men could deal secure without indentures.
 
 More than One Road to Rome. 33 
 
 And so it glibly runs on for another twenty-six 
 lines in which we hear of Cupid, Erreny, Juno and 
 Jove and Astrea again. 
 
 Now, if a writer of religious verse could be so 
 unconscious of the oil-and-water like mixture he was 
 perpetrating, we have therein proof that such things 
 were the habitual modes of expression common to 
 the period, and if they can come so markedly 
 forward in such " emblems " of Christianity, what 
 are we to expect from stage plays ? And how much 
 of this cant of the day would a retentive, trained 
 memory retain and assimilate ? 
 
 If I have not proved that Shakespeare got his 
 classical lore from plays of the period, the 
 Baconians certainly have not proved that the only 
 possible means of acquiring enough for the plays 
 was painstaking research, and delving in Latin 
 authors. 
 
 They do not seem to be very complimentary to 
 the man they would see installed as the national 
 poet, for they are more insistent on the evidences of 
 midnight oil than the spontaneity of production 
 displayed in the plays. The only lamp oil I can 
 smell proceeds from the footlights rather than the 
 student's reading lamp. 
 
 The man who would uphold research as one of 
 the factors at work in the creation of these 
 
 4
 
 34 The Young Man from Stratford. 
 
 masterpieces decries the genius of their author, 
 whomsoever he believes that author to be. 
 
 In the little quotation from Quarles will be 
 noticed a curious piece of legal imagery. It is 
 possible that in a pedantic age such things were 
 common, but certainly not sufficiently so to assume 
 Shakespeare's legal lore was culled in the same 
 manner I have done with regard to his classicism. 
 
 Though I do not yet propose to handle the vexed 
 question of parallelisms, I may draw attention to 
 an inept objection made by Bompas. He claims 
 that a scene in which a lover prays for a kiss in the 
 quaint metaphor of a "grant of pasturage on her 
 lips": and the lady, in the same playful strain 
 answers that "they are no common, though several 
 they be," could only have been written by a lawyer 
 owing to the punning use of the terms common, 
 pasture and severalty. But are lawyers the only 
 men who know things, pray ? Have their clients, 
 for instance, absolutely no acquaintance with any 
 legal terminology whatever? Why, fellow jurymen, 
 the instance quoted deals with pasturage law 
 terms that might even be known to any intelligent 
 butcher's apprentice in that slough of ignorance, 
 Stratford-on-Avon. 
 
 But if we have evidence, direct evidence, of his 
 capacity for refinement, and, as I have shown out
 
 Source of Legal Knowledge. 35 
 
 of the Cerberus-like Baconian jaws to which I am 
 trying to act as dentist, that he was a man of 
 ability, and if I have succeeded in pointing to a 
 highly probable means whereby he may have 
 broadened his mind, developed his powers and 
 acquired the knack of classic allusion, I think I can, 
 from that same source, open a door to your 
 intelligence through which you may be able to 
 discern a means whereby such a man could gain 
 sufficient knowledge of legal terms and phrases as 
 would serve his purpose for poetic simile and 
 metaphor. For, be it remembered, it is a necessary 
 characteristic of a great author's mind that 
 everything seen or heard is automatically scheduled 
 for possible future use. 
 
 These three Baconians, in their frantic haste to 
 show how mean and contemptible this alleged 
 writer of tender love scenes, noble thoughts and 
 exalted admonition could be, give the game away 
 at once when they tell us what a frequent litigant 
 he was. Think of the consultations with lawyers, 
 the waiting in court while other cases were being 
 argued, the talking over clever quibbles, heard 
 when, as we can only reasonably infer in a man of 
 his temperament, he adjourned to "have a glass." 
 
 No, my friends, it is as fatuous to say he could 
 by no possibility have known anything of the law,
 
 36 The Young Man from Stratford. 
 
 as it is to say that he probably was employed in 
 an attorney's office. And mark again how the 
 Baconians cut the ground from under their own 
 feet when they tell us first that the author of the 
 plays employs terms common to usury, and then 
 point out the fact that Shakespeare was in the habit 
 of lending money. I would add conjecture to that 
 and say that there is nothing wildly improbable in 
 the thought that in some part of his career he may 
 have borrowed money. 
 
 Now we come to the question of medical know- 
 ledge, which, while not being displayed to the same 
 extent as classical and legal familiarity, still finds 
 a prominent place in the Shakespeare plays. This 
 is a point on which I must throw up the sponge. I 
 have my views, but in the absence of any data 
 whatever I prefer to keep groundless supposition 
 out of these pages. We know of nothing that 
 could have helped him to acquire such knowledge, 
 we don't know if he hob-nobbed with any convivial 
 medico whom he was able to employ as reviser of 
 medicinal metaphor, we know nothing of his health, 
 on which his mode of life cannot have had a very 
 beneficial influence, so we can assume no clue in that 
 direction. Nor can we say there is any clue in the 
 person of Dr. Hall, the highly-respected physician 
 who was the husband of Shakespeare's daughter
 
 .4 Confessed Blank. 37 
 
 Susannah. Were I an orthodox Shakespearean I 
 might cajole my intelligence into believing that he 
 at one time contemplated entering the medical 
 profession. But we know nothing, absolutely 
 nothing, and so must not allow ourselves to be 
 deceived by such fancies. And at the same time we 
 must guard ourselves against being similarly 
 deceived by the equally wild statements that he 
 could by no possibility have known anything of the 
 subject that are insisted on by the Baconians, who 
 know no more about him, and have no more grounds 
 for their assumption than I, should I be unwary 
 enough to make one. Suffice it to say that of the 
 four questions of personal capability, classic lore, 
 legal acquaintance and medicine, all of which the 
 Baconians scout, I have shown how three of them 
 may be accounted for on solid grounds of deduction 
 and analysis. The fourth must be placed with one 
 or two others that, as I said in my introduction, must 
 forever remain inscrutable mysteries.
 
 CHAPTER V. 
 
 ONE of the biggest rocks that overloaded and 
 leaky ship Baconia splits upon, is that 
 submerged and very jagged one of style. 
 There are few things that seem so definite, and 
 few that are so elusive when one tries to grasp 
 and analyse it. We have, too, to take into 
 consideration that there is such a thing as the 
 style of a period as well as the thought of a 
 period. The man whose mind is cramped 
 within the four margins of the printed page will 
 tell us — and that from his genuine belief, that the 
 thought of the period is the result of its literature, 
 for he, poor soul, cannot think without the stimulus 
 of a book. A little reflection will call to mind the 
 fact that there have been cases where men in different 
 countries have independently, but simultaneously, 
 given to the world almost identical ideas. Hence 
 we can only assume that the thought of a period 
 generates its literature. 
 
 38
 
 Style and Thought Cycle. 39 
 
 Apart from any such coincidences it is obvious 
 that, as thought must undoubtedly precede literary 
 effort m the single instance, the same must be the 
 case with literature in general. And the "Eliza- 
 bethan style" is one that we hear spoken of almost 
 more than any other. 
 
 Granted, then, that we have a style belonging to 
 a certain period of literary production, and that that 
 style is the outcome of the thought-tendencies of 
 the age, we have either to assume that only one man 
 at a time is capable of giving full expression to 
 those thought-tendencies in their infinite variety, or 
 that two men, working in different departments of 
 literary effort can give expression to those ideas 
 then " in the air," each in the manner appropriate to 
 his own walk in life. Thus the philosopher would 
 produce learned treatises in which the science and 
 philosophy of the age would be handled in a more 
 or less didactic manner, while the theatrical man 
 would write plays in which those elements would be 
 utilised in analogy, simile and metaphor. And when 
 each treated of emotion in the same thought-cycle, 
 there would be no possibility of any great divergence 
 in matter or manner, for the whole gamut of human 
 passion seems to play about those two tones, love 
 and hate, with that insidious semitone lying between 
 and belonging to both, jealousy.
 
 40 The Young Man from Stratford. 
 
 In the identification of one unit out of a literary 
 epoch by style alone, seeing that the unity of style 
 makes the epoch, we are at a great loss if we take in 
 the general aspect only. We must have knowledge 
 of the birth-marks of each. Here is an analogy. In 
 India, if any of the natives has a grievance against 
 a white soldier, as, alas, happens occasionally, the 
 authorities, anxious to let the native see that he can 
 have fair play, will draw up a whole regiment for 
 the offender to be identified and brought to justice. 
 This consummation is, however, but rarely realised. 
 The bewildered native is inclined to look upon this 
 identification-parade as a farce, for, as he will 
 observe to his own people, "how is it possible to 
 pick out one man from a row of white faces that are 
 all alike?" If he does venture on a selection, he is 
 just as likely to be wrong as right. We are in just 
 such a plight when examining the literature of a 
 period, and the fact that we are shown two figures 
 of exceptional stature, and with possibly a similarity 
 of physiognomy is not sufficient to justify us in 
 saying they are one and the same person. 
 
 However, this is all based on the assumption that 
 a similarity of style actually exists in the writings of 
 Bacon and Shakespeare, and therefore appears more 
 of an apology than an argument. It is in the main 
 of no effect for my contention on this particular
 
 Some Birth-marks. 41 
 
 point is that a wider dissimilarity of style between 
 contemporaries could hardly be imagined. The few 
 points of resemblance belong to the period and not 
 to the persons. Otherwise, we must assume that 
 almost the whole of Elizabethan literature pro- 
 ceeded from the pen of Francis Bacon. Which is 
 absurd. O.F.D.* 
 
 It might be just possible that a short-sighted 
 person could mistake Shakespeare for Bacon "in the 
 dark with the light behind him," but I propose to 
 throw the light full on, and show you the 
 birth-marks. Then we shall have, I hope, an end of 
 this sad case of mistaken identity. 
 
 What is the distinguishing feature of Shakespeare's 
 plays? The knowledge, the skill, the poesy? All 
 three certainly, but high above them is the torrential 
 exuberance, the breathless rapidity of utterance, 
 that marvellous way that thought crowds on thought, 
 image on image. The comet-like brilliance and 
 unexpectedness of orbit which impelled that more 
 
 Visits to the meetings of the Bacon Society since the 
 above was written show that this very position is largely 
 taken up by its members, many of whom believe that Bacon 
 was not only Shakespeare, but Beaumont and Fletcher, 
 Marlowe, Spencer, Barnfield and others including Mon- 
 taigne. Some, even, maintain that he was Cervantes and 
 John Milton ! Thus we see what little of similarity does 
 exist is merely the style of the period.
 
 42 The Young Man from Stratford. 
 
 orderly planet, rare Ben Jonson, to exclaim, "would 
 he had blotted a thousand " lines. It is this volcanic 
 manifestation of Shakespeare's fire which is the 
 chief birth-mark by which we can certainly identify 
 him from any other who may bear a superficial 
 resemblance to him. And this feature is one that 
 could not be assumed, and neither could it be held 
 in check. In the philosophic writings that the 
 Baconians contend proceeded from the same pen 
 we do not find this tumultuous riot of language; 
 everything bears to the impress of care, preparation 
 and revision. It is the outcome of the studious 
 rumination characteristic of a finely tempered mind 
 of trained thought-habit. The placid, even flow of 
 tutored diction, however deeply it arrests the 
 interest, never leaves the mind panting in the effort 
 to keep pace. And I contend, fully believing the 
 majority of my co-jurors will agree, that it would 
 be as impossible for the philosopher to assume the 
 dazzling rapidity of utterance, as it would for the 
 poet to hold his native irresistible velocity in check 
 whilst penning reflective and instructive treatises. 
 Whichever manner was native to the man, the other 
 was foreign, and impossible of assumption for any 
 considerable space. 
 
 The Baconians seek to show their idol's ability 
 for florid utterance by one or two blemishes of
 
 The Quality of Humour is not Strained. 43 
 
 redundant verbiage that have as much overflow of 
 poesy as the catalogue of a summer sale. 
 
 Then there is another birth-mark of Shakespeare's 
 that finds no counterpart in Bacon, and that is 
 humour. And when I speak of humour I am not 
 thinking particularly of the criss-cross quips and 
 quiddities of Touchstone, the bloated farce of 
 Falstaff, or the dainty whimsicalities of Rosalind 
 and Beatrice, though all have a bearing on the point, 
 but I have in mind that grim, sardonic humour that 
 we find in some of the more tragic moments. What 
 of the drunken porter with his "knock, knock, 
 knock," just when the murder of Duncan has wrought 
 emotion to the snapping point ? And look at the 
 terrible humour in some of Othello's speeches, and 
 the horrible humour in those of Richard III. Here 
 we have Mephisto in excelsis. Surely the books 
 would exhibit some of these elements of spontaniety 
 that are such an ever-present feature of the plays 
 were both from the one mind. 
 
 That the quality of humour was not totally 
 absent from Bacon's composition no one can deny. 
 His collection of apophthegms, jokes of the funereal, 
 laboured style of the classic period, elaborate 
 repartee, etc., shows that he was capable of 
 appreciating certain kinds of humour in others, but 
 the cases where humour peeps out in his own writings
 
 44 The Young Man from Stratford. 
 
 are so scattered, that, compared with the unceasing 
 sparkle of wit — wit as modern as anything the 
 latter-day humorists have turned out — which per- 
 vades the plays, we may well ignore it altogether.* 
 I have heard it urged, and with some justice, that 
 a knowledge of Latin is essential if one is to 
 thoroughly understand the meanings of many 
 passages in the plays, as the words derived from 
 that monumental language are invariably employed 
 by Shakespeare in their Latin sense. This is 
 perfectly correct, but it by no means proves that the 
 man so using them was a deep Latin scholar. So 
 early in the history of English the derived words 
 would not have drifted far away from their original 
 significance. We well know that the gradual change 
 in the meanings of words is one of the most 
 interesting and peculiar features of language. It is 
 only necessary to cite such words as " presently," 
 and " decently " to bring this fact forcibly to mind. 
 And this last word reminds me of yet another of 
 Shakespeare's distinguishing characteristics. And 
 
 * Allied somewhat to this question of humour is the 
 curious, half-punning jingle of words that Shakespeare 
 delights in, although he does not seem to have utilised it for 
 humorous purposes. The grim cardinal's despairing 
 " abject object," and the string of puns in Hamlet's grave- 
 side talk are striking cases in point.
 
 Tardy Acceptance of New Words. 45 
 
 that is the ever-present dainty indelicacy that almost 
 invests obscenity with the attributes of poesy. 
 Whether grave or gay, tragic or comic, impropriety 
 winks at us in a way that is neither charming nor 
 shocking, but simply Shakespearean. Bacon's muse 
 is a discreeter lady, and does not indulge in the arch 
 display of ankle and lingerie. I have not yet found 
 such things in Bacon, and, like the lady who 
 complimented Dr. Johnson on omitting the bad 
 words from his dictionary, I cannot deny having 
 looked for them. In the plays there is no need to 
 look. 
 
 Then we are told that both Bacon and 
 Shakespeare have employed certain words for the 
 first time. But this does not by any means prove 
 these words to be coinages of either. Many words 
 are in common use long before they are admitted to 
 literature. The new dictionaries of to-day contain 
 many words that were tabooed in our fathers' time. 
 
 Thus we see how a fairly conducted examination 
 of the abstract question of style per se, deprives 
 that element of the great importance attached to it 
 by the Baconians as a support for their theories.
 
 CHAPTER VI. 
 
 WE have seen how slender a foundation the 
 Baconians have for their low estimate of 
 Shakespeare's mental capacity, their 
 denial of the possibility of his gaining any sort of 
 culture, and for their insistence on the alleged 
 identity of style in the works known to be by Bacon 
 and those generally ascribed to Shakespeare. Allied 
 to this latter is the curious question of parallelism 
 which seems to be the backbone of their misdirected 
 faith, and — if the bull is permissible — it is the most 
 invertebrate of their contentions. 
 
 For this reason I will handle the subject more 
 in detail than hitherto, notwithstanding the fact 
 that I am all along presuming on the reader's 
 acquaintance with the books by Penzance, Webb and 
 Bompas that I am attacking. Being desirous of 
 maintaining compactness I have been chary of 
 quotation from these works. And I have so often 
 seen what mischief an incomplete quotation — that 
 
 46
 
 Dissimilar Triads. 47 
 
 half truth which is the greater lie — can do, that I 
 prefer to confine my address to those who know the 
 uncurtailed statements of these leaders of Baconian 
 thought. 
 
 I will begin with the triads. Being a musician it 
 is only natural that I should first deal with those 
 verbal " chords " said to be " common " to the two 
 sets of writings. Bompas gives three pairs of 
 examples which I here quote : 
 
 Shakespeare : Some are born great, some achieve 
 greatness, and some have greatness thrust upon them'. 
 
 Bacon : Some books are to be tasted, others to be swallowed 
 and some to be chewed and digested. 
 
 Shakespeare : It would be argument for a week, laughter 
 for a month, and a good jest for ever. 
 
 Bacon : Crafty men condemn studies, simple men admire 
 them, and wise men use them. 
 
 Shakespeare : One draught above heat makes him a fool, 
 a second mads him, and third drowns him. 
 
 Bacon : Reading maketh a full man, conference a ready 
 man, and writing an exact man. 
 
 Now it is contended that such employment of the 
 triple antithesis is specially characteristic of the two 
 sets of writings. But do they mean to add, " and of 
 these two sets only " ? The triad is a very common 
 element of literary composition wherever conciseness 
 of diction is aimed at. In addition we can learn 
 something bearing on the point at issue from the 
 above paired quotations. Mark the striking
 
 48 The Young Man from Stratford. 
 
 difference there is between them. How much more 
 judgment is displayed by Bacon, what care he has 
 exercised in the avoidance of the repeated "some" 
 in the first. Note the superior balance of the second, 
 and the more complete and rounded form of the 
 third. The deliberation of the student is seen in 
 Bacon's phrases, whereas, notwithstanding the power 
 and pertinence of the language, we find a certain 
 crudeness — possibly adding force to the sentences — 
 in those from Shakespeare, which would have seemed 
 to Bacon a blemish, or at least an inelegance. 
 
 And we find another, and still stronger point in 
 the comparisons. Bompas and his friends say the 
 triad was a characteristic mode of expression in the 
 plays and the treatises, and that similar ideas are 
 presented. How is it, then, that none of the quoted 
 triads contains a parallel of thought ? 
 
 Here they show us a parallel of manner with none 
 of thought. When they show us an alleged parallel 
 of thought the manner differs. Surely, if thought 
 and manner were so uniform they would be able to 
 find better examples than those given. 
 
 Webb devotes some space to this branch, but gets 
 no nearer, and Penzance gives us some twenty pages 
 of alleged parallelisms, selected from Ignatius 
 Donelly's preposterous concoction, the "Great
 
 Exit Do nelly! 49 
 
 Cryptogram,"* in not one of which the matter and 
 manner agrees simultaneously. And I doubt 
 whether more than half-a-dozen of the examples 
 given can rightly be termed real parallels after all. 
 Yet his lordship, with apparent faith in the accuracy 
 of Carlyle's definition of mankind, introduces this 
 absurd conglomeration of Donelly's oddments to his 
 jury in the following words : 
 
 And now, gentlemen, I come to what is in my own 
 opinion the most important matter bearing on the proba- 
 bility that these plays came in truth from the hand of 
 Francis Bacon. 
 
 Make a close scrutiny of this "most important 
 matter " and it vanishes into thin air, " leaving not a 
 rack behind." The appearance of these disjointed 
 scraps reminds one forcibly of the manipulation of 
 the Will in Swift's "Tale of a Tub." If Donelly 
 cannot find what he wants he is ready to manufacture 
 it by mutilation and distortion. So much for 
 Donelly's parallels as extolled by Penzance. 
 
 Let us see further what His Honour Judge Webb 
 has to say in the question of parallelism. If the 
 Yankee iconoclast was contemptible, we can at least 
 respect the dignified and scholarly way the learned 
 judge handles this particular section. Webb draws 
 
 1 Lord Penzance himself says that Donelly has failed to 
 demonstrate the existence of a cryptogram. 
 
 5
 
 50 The Young Man from Stratford. 
 
 most of the coincidences which he calls parallelisms 
 from Bacon's " Natural History." His Honour tells 
 us that the work contains " as scientific truths a 
 number of errors which had been all but exploded. 
 At the same time, what is equally extraordinary, it 
 anticipates some of the most profound conceptions 
 of modern science." 
 
 This last is a point on which we may pause for a 
 moment to look into the question of coincidence in 
 general. Bacon anticipates modern science. We 
 know also that Spencer gave a fairly close descrip- 
 tion of the Crystal Palace, that Chaucer, in the lines 
 commencing " soun is naught but air y-broken " 
 epitomised the later theories of acoustics. And yet 
 again: Swift gave a remarkably accurate description 
 of the satellites of Mars long before that ruddy 
 planet was thought to have attendants. And if a 
 little-read man-in-the-street like myself, an ordinary, 
 everyday man, such as one finds in jury boxes, can 
 think up these few examples of the " long arm of 
 coincidence " without search, there can be no doubt 
 tiiat a student would be able to extend the list 
 considerably. 
 
 In these examples we know them to be pure 
 coincidence. Bacon had no knowledge of the " most 
 profound conceptions of modern science," Spencer 
 was unacquainted with the chef d'ceuvre of Sir
 
 Literary Coincidences. 51 
 
 Joseph Paxton, Chaucer had never read Helmholtz, 
 and in Swift's day no telescope had revealed the 
 Martian satellites. And as I write, there comes to 
 mind another, and a more pertinent coincidence in 
 Swift. Again I refer to the " Tale of a Tub " in the 
 second section of which we find the whole of 
 Carlyle's "Sartor Resartus " rendered in a para- 
 graph. Some may say Carlyle borrowed and 
 elaborated the idea from Swift, but I think not. 
 At any rate the existence of coincidental anticipa- 
 tion is amply proved. The thought which then 
 follows is — how if an author had so anticipated f rom 
 contemporaries with whose works he was unfamiliar ? 
 If the one is proved the other is not impossible. 
 
 This thought, however, is only in passing. I know 
 well that it savours too much of the Baconian method 
 to be conclusive. Still, if it is no argument, it is 
 certainly a side-light on possibilities. 
 
 I will now get to work on the destructive criticism 
 of the parallelisms Webb finds in the " Plays " and 
 the " Sylva Sylvarum." I should wish my fellow 
 jurymen to refer particularly to Webb on page 174 
 of the " Mystery of William Shakespeare," as I must 
 necessarily be brief in my quotations. He tells us 
 of Bacon's "Theory of Spirits" and going through 
 a catalogue of these elements or "pneumaticals," comes 
 to the phrase "spirit of wine," which Bacon describes
 
 52 The Young Man from Stratford. 
 
 as " hot in operation." Then he proceeds to quote 
 the passage in "Othello" where Cassius exclaims: 
 
 thou invisible spirit of Wine, if thou hast 
 
 No name to be known by, let me call thee Devil ! 
 
 Does His Honour wish us to believe that the term, 
 " spirit of wine," was hitherto unknown to mankind, 
 or that its heating effect had never been alluded to 
 by poet before ? Also can such a learned man fail 
 to perceive the totally different sense in which the 
 phrase is employed ? The poet invests wine with a 
 personality, a malevolent animus or spirit ; the 
 scientist merely employs a technicality. The rest of 
 the quotations dealing with spirits collapse under 
 similar scrutiny. 
 
 The story of the Egyptian soothsayer is only 
 spoken of by Webb as " related " by Bacon, not 
 invented, so that there is nothing in that parallel to 
 point even to plagiarism. Then we come to the 
 theory of spontaneous generation and Hamlet's "if 
 the sun breeds maggots in a dead dog." The 
 scientist speaks of the "creatures bred of putre- 
 faction," and the poet makes use of this loathsome 
 fact in nature that will have been a matter of 
 everyday observation to him in the Stratford 
 slaughter house. Nothing here suggests in the 
 faintest way anything like identity of authorship. 
 So with the theory of flame and the words of Proteus
 
 A Burning Question. 53 
 
 in the " Two Gentlemen of Verona," " one heat 
 another heat expels." Here no exclusive knowledge 
 is to be inferred. In many country houses it is still 
 the house-wife's anxiety that the sun shall not put 
 the fire out ; a matter of common observation again. 
 But after all this particular example is not worth the 
 space I have given it for itself. It is merely useful 
 to me as showing the wild straining after parallels 
 the Baconians indulge in. Here are the two extracts 
 together : 
 
 Bacon : Flame doth not mingle with flame, but only 
 remaineth contiguous. 
 
 Shakespeare : One heat another heat expels, 
 
 One fire burns out another's burning. 
 
 Anything less like a parallel could hardly be 
 imagined. 
 
 Now what has Webb to say about the theory of 
 celestial bodies (page 180)? He draws fine con- 
 clusions from the circumstance that in Bacon and 
 Shakespeare the same astronomical theories are held, 
 notwithstanding that they were already exploded. 
 The only real curiosity in this is that the learned 
 Bacon should have adhered to exploded theories — ■ 
 for one expects the student to modify his views 
 before the romancer. The only comment on the fact 
 is that the two writers held antiquated views on 
 astronomy, a thing that may happen in any age.
 
 CHAPTER VII. 
 
 WE now come to Bacon's " Theories of Horti- 
 culture," and can deal with them en masse, 
 for they all bear a like interpretation. 
 They do not in one single instance display anything 
 like exclusive knowledge possessed by the writer of 
 the " Sylva Sylvarum " and the writer of the plays. 
 Take the first example that Webb gives, which is 
 from Iago's speech on virtue : 
 
 'Tis in our selves that we are thus and thus ; our bodies 
 are our gardens to the which our wills are gardeners, so 
 that if we plant nettles or sow lettuce, set hyssop and weed 
 up thyme, supply it with one gender of herbs or distract it 
 with many, either to have it sterile with idleness or manured 
 with industry, why, the power and corrigible authority of 
 this lies in our wills. 
 
 This is considered a parallel with a passage in 
 Bacon's "Essay of Gardens" where he says: "Put 
 parsley seed amongst onion seed, or lettuce seed 
 among parsley seed, or basil seed among thyme 
 seed, and see the change of taste, or otherwise." So 
 conclusive does Webb think it that he has the 
 
 54
 
 Chronicle v. Metaphor. 55 
 
 courage to say that anyone reading the former would 
 think it an extract from Bacon's " Natural History " 
 were his attention drawn to the latter. The short- 
 sightedness of this is beyond belief. Could not the 
 learned judge perceive the vast gulf that separates 
 these two extracts ? Could he not see that Bacon's 
 was a mere dictating or chronicling of horticultural 
 experiment and that Iago's speech is a poetic meta- 
 phor illustrating our own responsibility as to how 
 we shall dispose ourselves? The words "lettuce" 
 and " thyme " occurring in each are surely not pre- 
 sumptive evidence that the same hand penned both. 
 The rest of the horticultural parallels yields to 
 analysis in the same way. Shakespeare, in " Troilus 
 and Cressida " makes an analogy of knots in pine 
 trees : Bacon records how knots are produced. 
 Shakespeare in " Richard II " has a gardener who 
 speaks of lopping branches and making incisions in 
 trees, etc., as an analogue of government : Bacon 
 tells us that lopping and cutting are good for trees 
 and plants. Shakespeare in " Henry V ' has a 
 simile based on manuring : Bacon tells us of the 
 advantages of this process. And so we find the 
 scientist carefully recording various facts in his 
 " Natural History," while the playwright uses the 
 same facts in metaphor. And what do we glean 
 from that? Is it suggested that Bacon himself
 
 56 The Young Man from Stratford. 
 
 invented the details of gardening so employed, and 
 that he, alone, grew lettuce and thyme in a secret 
 back garden? If such can be proved to have been 
 the case, then there may be something in these 
 parallels worthy of consideration. From page 1 8 1 
 to page 189 in Webb's "Mystery of William 
 Shakespeare," we find a number of horticultural 
 parallels. I am content to quote only the few above, 
 referring the reader to the remainder, for the same 
 objection applies to all save the reference to the 
 apostrophe to Proserpina, to which all Webb has to 
 say is an inconsequent remark as to Kempe, the 
 morris dancer, " having no notion of such a thing." 
 
 Leaving the gardening aspect, Webb seeks to 
 show the scientific by quotation from Bacon's 
 pedantic statements on the Transmutation of Bodies, 
 coupled with Ariel's song, " Full Fathom Five thy 
 Father Lies." Webb's quotations here disprove that 
 which he sought to establish, for he first shows us 
 how Bacon describes coral as a "submarine plant,' 
 and then quotes the verse in which coral is said to be 
 made of bones ! 
 
 The opening lines of the "Tempest" provide His 
 Honour with a further inane objection. These lines 
 contain accurate nautical terms and he states that 
 Shakespeare never was at sea. On the other hand 
 Bacon was an authority on nautical matters, and
 
 A Remarkable Translation. 57 
 
 tells us how to manage a vessel in a storm in his 
 " Historia Ventorum." 
 
 As to whether Shakespeare ever was at sea, or 
 came in contact with seafaring folk in course of 
 his wanderings, is a point on which any definite 
 statement on either side must be disallowed. We 
 simply are faced with the regrettable fact that we 
 do not know. But if Shakespeare never was at sea, 
 Judge Webb certainly is over the parallels he pro- 
 duces. And, with regard to these nautical terms of 
 alleged accuracy — does no dramatist or book-writer 
 ever consult with experts in special subjects when 
 the conception of his story demands their details 
 to be introduced ? 
 
 The objection I moved to the alleged horticultural 
 parallels holds equally good with those on pages 
 191 -2, for again we find the historian chronicling 
 facts that were by no means his own exclusive know- 
 ledge, while the poet employs such matters of 
 common knowledge in metaphor. In his " Historia 
 Vitse et Mortis," Bacon gives some of the well-known 
 symptoms of approaching death. In "Henry V 
 similar symptoms are described by Dame Quickly 
 in recounting Falstaff's decease. Webb calls the 
 latter a "translation" of Bacon's passage, but, 
 though my own Latinity is a negligible quantity, I 
 cannot accept "babbling of green fields" as a trans-
 
 58 The Young Man from Stratford. 
 
 lation of " memoria conf usa." His Honour would 
 have been a much appreciated dominie ! 
 
 So much for the different employment of similar 
 facts called " parallels." Now for some of these 
 parallels which have absolutely " no connection with 
 the firm next door." Thus Bacon, speaking of the 
 technicalities of musical composition, says "the 
 falling from a discord to a concord makes the 
 sweetest strain." This is accurate enough, and all 
 textbooks of harmony give the rule that discords 
 descend. Webb maintains, thinking the descent of 
 a discord was due to Bacon's own imagination, that 
 Shakespeare " reproduces the thought and the very 
 words" in the opening lines of "Twelfth Night." 
 
 Now let us look up these lines : 
 
 Duke : If music be the food of love, play on, 
 Give me excess of it ; that surfeiting, 
 The appetite may sicken and so die, 
 That strain again : it had a dying fall. 
 
 What a delightful description of delicate melody, 
 falling away in dying breaths of sweetness ! Here 
 is true poesy, owing nothing to the textbooks of 
 the theorist. I may in passing say that my own 
 native prejudice is such that, where I find a man in 
 error on a subject I have full knowledge of, I am 
 apt, unreasonably it may seem, to look askance at
 
 A Strange Statement, 59 
 
 his other statements, thinking it possible that experts 
 in those matters might discern similar weaknesses. 
 I turn now to another non-parallel. Unfortun- 
 ately it does not deal with such a poetic matter as 
 the last. Bacon, we are told, held the theory that 
 "hair and nails are excrements." Webb goes on to 
 say that "the Queen in 'Hamlet' adopts the extra- 
 ordinary phrase " when she exclaims : 
 
 Your bedded hair, like life in excrements 
 Starts up and stands on end. 
 
 Here we see but another image borrowed from 
 the cow-shed experiences of Shakespeare's youth. 
 The heaving of matted, or " bedded hair " reminded 
 him of the like movements due to maggoty genera- 
 tion in the neglected excrements the absence of 
 sanitary authorities made possible. And in this 
 line there is absolutely no suggestion that hair is 
 an excrement, so that to say the Queen adopts 
 Bacon's phrase in which that is asserted, is to say 
 the least, rather a strange statement to come from 
 a judge, from whom one would expect absolute 
 fairness of presentment. The pages of Webb are 
 filled with such forced and untenable conclusions. 
 Read page 195, in which we are expected to believe 
 that Bacon alone of his time knew of the legendary 
 attributes of toads, basilisks and salamanders. 
 Bompas follows Webb in almost the same foot-
 
 60 The Young Man from Stratford. 
 
 steps, so it is not needful for me to quote from him. 
 So far the argument of parallelisms crumbles to 
 dust. The poet speaks of flowers and natural 
 forces in metaphoric analogy. The precise chron- 
 icler of small details in natural history sets down 
 these facts in a totally different spirit. If these 
 Baconians had produced a few examples of Bacon's 
 using the same phenomena in identical relationship 
 to other matter, if, in short, it could be shown by 
 parallels that identical metaphor was employed, 
 then there might be some excuse for their conten- 
 tions, but all the parallels given show such an 
 opposite use of the material, and in certain cases, 
 such divergent views, that the analyst is forced to 
 the conclusion that they emanated from totally 
 different pens. And in three cases, as the " grant 
 of pasture," the effect of the sun on carrion and 
 excrements, the butcher's apprentice peeps out very 
 strongly. 
 
 It is curious how these Baconians give their case 
 away at times. We are to imagine that Bacon alone 
 was master of the facts in his various treatises on 
 natural history, and then Webb quotes Bacon's 
 admission that the experiments were vulgar and 
 trivial. Take, again, this last parallel from 
 " Troilus and Cressida " :
 
 Exeunt Parallels. 61 
 
 Brother, you have a vice of mercy in you, 
 Which better fits a lion than a man. 
 
 Webb asks "what is this mercy of the lion?" 
 And then adds, "Bacon tells us. 'Of lions' he 
 says ' it is a received belief that their fury ceaseth 
 towards anything that yieldeth.'" 
 
 It must have been through an oversight that Webb 
 included the words "a received belief " in his quota- 
 tion, for that robs the example of any value for his 
 side of the dispute. 
 
 In concluding this chapter I must beg of my 
 fellow jurymen to examine all the parallels given 
 in Penzance, Webb and Bompas, when they will see 
 how those space has compelled me to exclude are 
 destroyed by the same analysis that has demolished 
 those I have selected* 
 
 * Since the above chapter was written I have read Edwin 
 Reed's book of Bacon-Shakespeare parallels. The only 
 conclusion I arrive at is that, considering they were 
 contemporaries, it is remarkable how little of similarity 
 exists.
 
 CHAPTER VIII. 
 
 HAVING shown the fallacious character of 
 the various Baconian arguments dealing 
 with the questions of personality, educa- 
 tion, style, classicism and parallelisms, I now propose 
 to attack those subtler forms of inferential arguments 
 that seem so conclusive to the Baconians. 
 
 It must be observed in starting that inferential 
 argument is closely allied to circumstantial evidence, 
 and circumstantial evidence has hanged many an 
 innocent man. Therefore this mode of reasoning" 
 needs to be very carefully analysed. No matter 
 how skilfully certain effects may be argued to arise 
 from certain causes, so long as more than one ex- 
 planation is possible, none of such explanations can 
 be called conclusive. All we can do in such cases 
 is to endeavour by minute analysis to discover which 
 of these theories is more conclusive than the rest. 
 My analysis of the inferential arguments will 
 occupy several chapters, as I must go more into 
 
 62
 
 The Promus. 63 
 
 detail than was absolutely necessary in the case of 
 the other matters enumerated above, for with those 
 questions I was able to extract something in the 
 nature of direct evidence from the known facts, the 
 Baconian admissions and the characteristic condi- 
 tions of the Elizabethan period. 
 
 In the case of the inferences that is not so pos- 
 sible, and therefore all I can hope to do is to 
 demonstrate the laboured nature of the Baconian 
 suppositions and to endeavour to show how a series 
 of more natural theories can be erected on the same 
 facts which, without descending to the sentimentality 
 of so many of the Shakespearean writers, shall yet 
 support their main tenet that the plays in dispute were 
 undoubtedly the work of their traditional author. 
 
 I will begin with the inferences Bompas tells us 
 are to be drawn from Bacon's " Promus." This 
 work, if such it can be called, was an elaborate note- 
 book which Bacon kept for a number of years, 
 its full title being " Promus of Formularies and 
 Elegancies." It is said to contain some 1,600 memor- 
 anda of useful words, phrases and proverbs from 
 the literature of all ages and in many languages. 
 I can find no suggestion that any of the entries 
 are Bacon's own original thoughts, although I am 
 not disposed to assume that none are. The book 
 appears to have been kept for the purpose of jotting
 
 64 The Young Man from Stratford. 
 
 down any striking word or phrase he may have read, 
 heard or thought of. Without wishing in the least 
 to convey the impression that I hold the belief, it 
 looks very much like a preparatory collection 
 towards a new section of the " Sylva Sylvarum" 
 dealing with the subject of diction. 
 
 Now here we come to the question of parallels 
 again, for a few of these curiosities are to be found 
 in the " Promus." I have chosen this separate 
 section to deal with them for the reason that, while 
 they distinctly yield to criticism, it is not in the 
 same way that the others did, for these are actually 
 real parallels ! And one set is sufficiently startling 
 if merely glanced over. I give here the famous set 
 of six which the Baconians believe proves their case 
 conclusively. 
 
 Promus : Romeo and Juliet : 
 
 Rome. Romeo. 
 
 Good morrow. Good morrow. 
 
 Sweet for speech in the What early tongue so sweet 
 
 morning. saluteth me. 
 
 Lodged next. Where care lodges sleep will 
 
 never lie. 
 Golden sleep. Golden sleep. 
 
 Uprouse. Thou art uproused by some 
 
 distemperature. 
 
 This is exactly the way they are compared by 
 Bompas. At a preliminary examination I strike 
 out the first and fourth, as I find nothing that can
 
 Pure L oincideyice. 65 
 
 be called a parallel between the name of a character 
 in a play and that of Italy's capital beyond the 
 jingle of sound. And "lodged next" has abso- 
 lutely no bearing on the phrase against which it is 
 put. Furthermore 1 look askance at the third 
 example for the same reason that but little real 
 parallel of thought is to be found in it. 
 
 Proceeding further with our investigation of these 
 paired phrases, we are faced with a very singular 
 fact. Those extracted from the " Promus " are 
 found very close together, as are also those quoted 
 from "Romeo and Juliet." Of the latter Bompas 
 says with all the vehemence of italics that they 
 occur in "eleven consecutive lines." This is, how- 
 ever, an absurd statement, for stage directions are 
 not " lines." But the fact remains that they are 
 sufficiently close together to be worthy of serious 
 consideration. My own contention, after much 
 thought, is that, whichever side you take, it is a 
 mere coincidence. Let us see how it works out from 
 the Baconian point of view. We are asked to believe 
 that a man is able to use six unmeaning memoranda 
 from his book of oddments in the same order and 
 similarly close proximity in a poetic dialogue. 
 
 Assuming each to be the work of the same hand 
 
 it is still obviously pure coincidence, and proves 
 
 nothing for either side. Especially when we remember 
 
 6
 
 00 The Young Man jroiu Slralford. 
 
 that no simiiar case occurs throughout the whole 
 of the rest of the " Promus." True there are a few 
 isolated cases of similar ideas, but of the nine 
 selected by Bompas, and it is only natural to assume 
 that he has chosen the most effective, eight of 
 Bacon's are proverbs merely, and the similar 
 thoughts scattered through as many as eight 
 different plays are derived from the same source 
 that Bacon derived his notes. In brief, it is not 
 good logic to say that the thoughts in the plays are 
 due to the " Promus " while we know the latter to 
 be merely a string of quotations with little, if any 
 original thought in it. And, when we consider the 
 nature, purpose and method of the " Promus," which 
 was nothing less than systematised plagiarism, there 
 is nothing wildly improbable that in the case of 
 the six (or less) coincidences quoted above, the play 
 may have been their source. In fact, if a hypo- 
 thetical case is for the moment, permissible, were 
 there no doubts as to Shakespeare's authorship, these 
 memoranda would be taken as evidence of the inter- 
 esting fact that Bacon had witnessed a performance 
 of " Romeo and Juliet," and deliberately intended 
 to "crib" certain flowers of speech. 
 
 Now let us look into another of the Baconian 
 "conclusive proofs." Certain of the Shakespeare 
 plays deal with Henry IV, Henry V, Henry VI and
 
 The Mystery of the Seventh Henry. 0/ 
 
 Henry VIII. Bacon's literary remains contain a 
 treatise on Henry VII* Here we have an excel- 
 lent inference in a shivering minority of one. Our 
 friends think that fact alone settles the matter. 
 Well, let us see. The question that arises to the 
 mind of one really seeking after the truth is: why, 
 if Bacon wrote plays on the fourth, fifth, sixth and 
 eightn Henries, how comes it that his handling of 
 the seventh is not likewise in dramatic form ? It 
 is of no use to say that this difference of treatment 
 is due to the fact that the history of Henry VII is 
 more suited to the literary than the dramatic method, 
 for, although that is certainly a colourable explana- 
 tion, it does not by any means dispose of the theory 
 that the playwright chose the dramatic subjects and 
 the historian the literary. f 
 
 Thus again there is no " proof " for the Baconian 
 idea, but it is seen that without gush, drivel, or 
 sentimentality, the identical facts provide upon 
 
 ■ This was written at the suggestion of James 1 who was 
 so interested in the work he, with his own august hands, 
 corrected the proofs. 
 
 t It must not be forgotten that Bacon commenced a 
 treatise on Henry VIII, and that in the fragment left us he 
 remarks on there having been no powerful subject rising to 
 rivalry with that monarch. The terrible figure of Wolsey in 
 the play does not show much similarity of thought on this 
 point.
 
 63 The Young Man from Stratford. 
 
 analysis arguments of at least equal weight for the 
 Shakespearean. 
 
 Another Baconian stronghold is to be found in 
 the grave-digger's scene in " Hamlet." They make 
 a great deal out of this clown's travesty of argu- 
 ment, and help dig the grave of their own cause 
 quite as clownishly in the process. This is our old 
 friend the parallelism in a new form. And, strange 
 to relate, it is absolutely and indisputably a real 
 parallel. So far it is almost the sole specimen of 
 its class that has been produced, the only unfor- 
 tunate thing about it being that it has no connection 
 with Bacon whatever. 
 
 It appears that in Plowden's reports, which were 
 published in 1598, is found the judicial finding in 
 the matter of Hales v. Petit. Sir James Hales 
 having committed suicide by drowning, the question 
 arose as to the legal felony of the act, and on that 
 hung the disposal of certain property in dispute. 
 The quaint, quibbling judgment of the Court was 
 as follows : 
 
 Sir James Hales is dead. How did he come to his death P 
 By drowning. And who drowned him? Sir James Hales. 
 And when did he drown him ? In his lifetime ; and the act 
 of the living man was the death of the dead man, for Sir 
 James Hales being alive caused Sir James Hales to die. 
 
 Of course everyone will recognise at once the
 
 Mark You That! 69 
 
 parallel in the grave-digger's scene in " Hamlet," 
 where the argument is travestied thus : 
 
 First Clown : Is she to be buried in a Christian burial, 
 that wilfully seeks her own salvation? 
 
 Second Clown : The crowner has sat upon her, and he 
 finds it Christian burial. 
 
 First Clown : How can that be, unless she drowned 
 herself in her own defence? 
 
 Second Clown : Why, 'tis found so. 
 
 First Clown : It must bo se offendcndo, it cannot be 
 else. For here lies the point : if I drown myself wittingly, 
 it argues an act, and an act hath three branches ; it is. to 
 act, to do, and to perform : argal, she drowned herself 
 wittingly. Here lies the water ; good : here stands the man ; 
 good : if the man go to this water, and drown himself, it is, 
 will he, nil, he, he goes; mark you that: but if the water 
 comes to him, and drowns him, he drowns not himself : 
 argal, he that is not guilty of his own death, shortens not 
 his own life. 
 
 Second Clown : But is this law? 
 
 First Clown : Ay, marry, is't crowner's quest law. 
 
 The fact that in the play Ophelia has drowned 
 herself may slightly minimise the force of the 
 parallel, which may after all be a mere coincidence. 
 In fact Bompas alludes to this circumstance, not so 
 much as a parallel, but as demonstrating Shakes- 
 peare's knowledge of the law relating to suicides, 
 thereby divesting the Hales case of the singularity 
 some attach to it, and suggesting that cases of 
 suicide were habitually argued in this way at that 
 period. Webb makes no reference to the case what-
 
 yo The Young Man from Stratford. 
 
 ever. The main point, however, is that certain 
 Baconians urge that the grave-digger's scene could 
 not have been written without an intimate know- 
 ledge of the Hales v. Petit judgment. They then 
 follow up this contention with another to the effect 
 that William Shakespeare could by no possibility 
 have known of it. Well, if it were the customary 
 kind of decision in such cases, as Bompas seems to 
 imply, he might have known the argument from 
 some other and less noted case. If it were a singu- 
 lar case, of a striking nature, then he would stand 
 every chance of hearing it from legal acquaintances. 
 It is absurd to imply that Bacon was the only man 
 who knew of it. I am not dealing with the mys- 
 terious nature of the various publications yet, but the 
 fact that the clown's scene is not in the quarto of 
 1603, but is found in that of 1604 points to its 
 having been "gagged" into the play as a result of 
 hearing either the Hales judgment, or one to which 
 that had served as a precedent. As Plowden's 
 report had been in print already for some five-and- 
 twenty years, Bacon, the omniscient lawyer, would 
 have known of it before 1603. 
 
 But, after all, the scene may not be so much a 
 parody of any particular legal argument as a faithful 
 picture of the bucolic style which, even in these 
 days of board-schools and compulsory education,
 
 You Cant Have It Both Ways. 71 
 
 provides us from time to time with amusing 
 examples of the mis-use of terminologies like the 
 three parts of an act in the same way. At the same 
 time, the Baconian digestion must be of abnormal 
 hardihood if they can swallow in comfort the sug- 
 gestion that Shakespeare could not have known of 
 this case of Hales v. Petit. A haunter of Fleet 
 Street and its purlieus, a frequenter of law-courts 
 during some of his own paltry litigations not hear 
 of such a piece of forensic quibbling ! Out on you ! 
 Having first denied him refinement and schooling, 
 will you now call the vulgar young man from "Strat- 
 ford an anchorite wholly innocent of pot-house 
 small-talk? For pity's sake stop arguing awhile, 
 and think !
 
 CHAPTER IX. 
 
 TWILL now deal seriatim with sundry of the 
 smaller inferences, not that they are of them- 
 selves worthy of much attention, but that none 
 shall be able to say I have shirked this or that ques- 
 tion. Also as showing how the trusty lance of 
 analysis pierces the ill-jointed armour of Bacon- 
 ianism at every turn. 
 
 Here is a characteristic specimen of the petti- 
 fogging spirit in which the matter is approached. 
 Basing an argument on the question of spelling 
 we are seriously told that, if Bacon did not 
 write the plays, then the William Shakespeare who 
 did was not the William Shakes per e of Stratford- 
 on-Avon. If there be anything in this mode of 
 thought — it is not reasoning — I should really like 
 to know who was Mr. William Shak., and who were 
 Shaxberd and Shagspere. 
 
 Then our worthy Baconians draw our attention to 
 the alleged fact that Burbage never mentions
 
 A Deep Cons-piracy. 73 
 
 Shakespeare as a playwriter. I must confess that I 
 do not see the finality of this argument. Herodutus 
 never mentions the Sphinx when writing of the 
 Pyramids, yet we well know that it was there in 
 all its mystery. At the same time it raises a very 
 curious question, for, if Burbage was led to believe 
 that Shakespeare was a playwriter, why did he not 
 mention him in that capacity ? Or will our opponents 
 have us believe that Burbage was a party to the 
 fraud, and was in Bacon's confidence ? Such an 
 idea will not hold water for a single moment. The 
 Baconians corner themselves beautifully every time, 
 for if we are to accept the bulk of their statements 
 there is nothing for it but to believe — even as a little 
 child — that William Shakespeare, the Burbages, 
 Nash, Hemming, Condell, Sir Tobie Matthew and 
 Ben Jonson at least were deep in the swindle, and 
 had full knowledge of Bacon's authorship of the 
 plays being passed off as the productions of the 
 ignorant provincial from Stratford. Imagine hot- 
 headed Ben conniving at a scheme that should 
 elevate an ignoramus above himself ! 
 
 If such were indeed the case, and I fail to see 
 how the Baconians are to extricate themselves from 
 the quagmire of that belief, then it is obvious that 
 we should not have had to wait nearly three 
 centuries for the first question of tradition and the
 
 74 The Young Man from Stratford. 
 
 first hint at what the Baconians would call the truth. 
 I mean the doubts would at an earlier date have 
 resolved themselves into certainties, and instead of 
 having to bolster up a cause with elaborate "inter- 
 pretations " of scanty facts, we should have had 
 some really direct and unequivocal evidence eman 
 ating from some of these conspirators. 
 
 If, for political reasons, the writing of these plays 
 jeopardised the Lord Keeper's cervical vertebrae, it 
 stands to reason that he dare not let the secret out 
 of his own keeping. He was too past a master of 
 intrigue not to be able to guage men's weaknesses, 
 and, to have let sundry players and men working 
 as literary hacks — tavern-wits in their leisure 
 moments — hold his life in their hands would never 
 have been Bacon's policy. For he would have 
 known, if Webb, Penzance and the rest cannot per- 
 ceive it, that the first tap-room dispute would 
 infallibly have brought the axe to his neck. 
 
 But, in their eager haste to enthrone the lawyer 
 in place of the poet, they bring in another accom- 
 plice over the Northumberland House papers. 
 Verily the famous lion, now over Zion House, might 
 wave his caudal appendage in mirth at the strained 
 interpretation that was to be put on some of the 
 lumber contained in the former stately mansion. It 
 appears that in the year 1867 an old box of papers
 
 An Interesting Title Page. 75 
 
 was found in Northumberland House, London. 
 Amongst these papers was a bound volume of MSS., 
 including, according to the title page, several works 
 known to be by Bacon, two plays attributed to 
 Shakespeare, a fragment of a play by Nash, and 
 some other drafts of letters and speeches for sundry 
 nobles that may have been composed by Bacon. So 
 far, so good. It is unfortunate for the Baconians 
 that this volume is not in Bacon's handwriting — at 
 least what remains of it. The two Shakespeare 
 plays had been abstracted at some time prior to the 
 discovery of the box. 
 
 Now I have not seen the title page about which 
 so much has been said, but had hoped for a reliable 
 descriDtion of it from one of these eminent lawyers 
 who think it proves their case so eloquently. Webb 
 and Bompas both give descriptions of this title 
 page, but they differ so that it is impossible to judge 
 which, if either, is accurate. I will give the two 
 accounts in the style of the Bacon-Shakespeare 
 parallels. 
 
 Webu : Bompas : 
 
 The title page of the 
 manuscript volume is liter- 
 ally tattooed with scribblings, 
 among which there are to be 
 found a quotation from the 
 "Rape of Lucrece " : the 
 anomalous word " honori- 
 
 . • . . the cover of the 
 volume is scrawled over, in 
 writing of the period, with 
 the name William Shakes- 
 peare seven times repeated, 
 and also that of Francis 
 Bacon three times, and also
 
 ;6 
 
 The Young Man from Stratford. 
 
 with two scraps from 
 "Love's Labours Lost " and 
 " Luereee." 
 
 ficabilitudino " which occurs 
 in "Love's Labours Lost": 
 the name of Bacon's brother, 
 Anthony, with the words, 
 "comfort and consorte," 
 the word " baco " in close 
 connection with " Asmund 
 and Cornelia": and the 
 words, "Shakespeare" and 
 "William Shakespeare" and 
 fragments of the name 
 "Shakespeare" some eight 
 or nine times repeated in 
 immediate connection with 
 the name of Bacon. 
 
 Now why in the name of equity cannot these 
 lawyers speak plainly on a simple matter of fact ? 
 Either it is seven times or it is not. I have not 
 troubled to verify either of them as it is of no 
 importance to my point in the matter, but I cannot 
 help distrusting* the observations on debatable 
 points made by men who deal with what can only be 
 plain matter of fact in so slipshod a manner. One 
 of the statements concerning the title page may be 
 right, it is impossible for both to be. The Baconian 
 theory based on the scribbled-over title page is that 
 the names Bacon and Shakespeare were so written 
 out for purposes of comparison, and as a prelude to 
 the adoption of William Shakespeare as a nom de 
 plume. But it is not in Bacon's handwriting ! So 
 here we have, as I said before, yet another person
 
 A Chooser of Pseudonyms. 77 
 
 " in the know " to share the secret which was thus no 
 secret. Had the handwriting of the volume, or, 
 even, the title page scrawlings been that of Bacon, 
 the circumstance would have merited investigation. 
 But, seeing that we have nothing whatever to indicate 
 that this particular volume of MSS. ever was in 
 Bacon's sight, and that even from a Baconian point 
 of view it would be absurd to think the pseudonym 
 was tested and chosen by another person, we have 
 nothing for it but to conclude the scrawlings to be 
 some literary amateur's preliminary trial of a fresh 
 cut quill. The origin of the volume, and the 
 abstraction of the two Shakespeare plays are things 
 that are bound to remain mysteries, no matter how 
 many superfluous theories may be woven around them. 
 Another parallel — a different variety this time — 
 consists of the " Midsummer Night's Dream " in its 
 entirety. Failing an authentic date for the writing 
 of this play, it is sought to fix it by parallels with 
 court doings. Working on this line some theorists 
 say it was written in celebration of Southampton's 
 marriage in 1598. However, the fact that 
 Southampton's marriage was clandestine, and so 
 distasteful to Elizabeth that she caused the 
 bridegroom to spend a solitary honeymoon in prison, 
 discounts that view. Others think the play was 
 written in celebration of the marriage of Essex m
 
 78 The Young Man from Stratford. 
 
 1590. Others, again, are of opinion that Oberon's 
 fairy revels that conclude that disjointed, but delight- 
 ful play, are a topical allusion to Leicester's fete to 
 Elizabeth at Kenilworth in 1575. Fellow jurymen! 
 The fact is that nothing whatever justifies anyone 
 in assuming that the " Midsummer Night's Dream ' 
 was written for any special occasion or contained 
 topical references of any description. There would 
 be just as much reason in suggesting that Essex or 
 Southampton, or both, got married as a result of 
 witnessing the ultimate felicity of the lovers in the 
 play, and that Leicester's fete at Kenilworth was 
 inspired by Oberon's vision. 
 
 In a similar manner Bompas attempts to 
 strengthen his case by suggesting that the mad 
 scenes in "Hamlet" and "Lear" are hints at the 
 mental state of Bacon's reputed mother.* Little as 
 I respect the memory of the corrupt Lord Keeper — 
 apart from his supreme literary genius — I do not 
 think he would have been capable of parading a 
 parent's affliction in this way. Furthermore we may 
 note that neither Ophelia nor Lear are mothers. 
 
 ' It should be noted that the Bacon Society considers 
 he was a son of Elizabeth by Leicester, and many members 
 think of him as Francis I of England. The latest "dis- 
 coveries" are said to show that Elizabeth was a man!
 
 Beethoven's Ninth Symphony. 79 
 
 Another form of parallel, allied to the last, is the 
 one elaborated by Bompas in which he says the 
 dates of the plays (some of which are very 
 uncertain, by the way) correspond with events in 
 Bacon's life. That is to say, the comedies were 
 produced when Bacon was in happy circumstances, 
 and the tragedies when he was more or less " under 
 a cloud." This may have been the case. But from 
 what we know of legal methods, it is plain that had 
 the exact reverse been the case it could have been 
 employed to prove the same thing, and we -would 
 probably have been told that it was in his days of 
 prosperity that Bacon wrote the great tragedies, and 
 that he cheered his hours of adversity with devising 
 comedies. 
 
 Just as there is no proof that a man is of noble 
 habit because he can pen noble thoughts, so there is 
 no proof that a man is happy when he writes 
 comedies and miserable when he writes tragedies. If 
 there were anything at all in such an argument we 
 should be forced to conclude that Beethoven never 
 composed that immortal Ninth Symphony, for this 
 is a vast " Hymn to Joy " composed at a time when 
 we know Beethoven to have been lonely, racked 
 with dropsy and other diseases, and, worst of all, 
 stone deaf.
 
 8o The Young Man from Stratford. 
 
 Such specious arguments are unavailing in the 
 eyes of an intelligent jury, no matter how their 
 perpetrators hug themselves over the thought that 
 their point is proved thereby. The only thing that 
 is proved is the facility with which the methods of 
 that exploded science, logic, can be diverted from 
 their original purpose.
 
 CHAPTER X. 
 
 A MARKED feature of the Baconians is the 
 peculiar argumentative colour blindness that 
 seems to obscure their perceptions. They 
 are unable to appreciate red by reason of its 
 complimentary tint so congesting the sensitive nerve 
 of their mental optics. Thus it is that they continue 
 in sublime unconsciousness of the way their theories 
 so frequently cut both ways, and in the singular 
 inability to see more than one interpretation of 
 known facts. 
 
 As illustrating this sad ocular defect of 
 Baconians generally, I will instance their contention 
 that William Shakespeare, the actor-manager and 
 part proprietor of two important London theatres, 
 was far too busy a man to have been able to find the 
 time to write the plays. Good; mark you that! as 
 that prototype of Baconians, the first grave-digger, 
 would say. But, my comrades of the jury-box, it 
 does not appear that Francis Bacon was a man of 
 
 7
 
 82 The Young Man from Stratford. 
 
 much leisure. What with political scheming, court 
 
 intriguing, and such vast labours as included 
 
 writing the "Essays" thirty times, and the 
 
 " Instauration " twelve, as we are told by Rawley, he 
 
 must have had his hands too full to be able to 
 
 spare time to make excursions into a strange and 
 
 dangerous province of literature. On the other hand, 
 
 pi ay writing, provided the man was capable, would 
 
 fit in with the life of even the busiest of theatrical 
 
 men. And the loosely-strung scenes of so many of 
 
 the Shakespeare plays give colour to the theory that 
 
 they were as often as not hastily penned on 
 
 emergency by a much occupied man of genius. The 
 
 chief thing that strikes one with these works after 
 
 their impromptu character is that they are essentially 
 
 actor's plays. Every scene is perfect in itself : 
 
 every entry is led up to, and every exit tells; yet in 
 
 several instances — "Henry VIII," "Midsummer 
 
 Night's Dream" and the "Tempest," for example — 
 
 the plays as a whole lack continuity, and, like a 
 
 badly-strung chaplet of gems, have an almost 
 
 slip-shod appearance. The second scene of the 
 
 second act in "Henry V" is a complete play in 
 
 miniature, yet the whole play is anything but perfect 
 
 as regards plot and development. 
 
 Is this what we should expect to find from a man 
 of learning, a man trained to mental system and
 
 The Retirement. 83 
 
 orderly methods of thought who had retired to his 
 study to occupy himself with experiments in 
 dramatic writing ? Or is it what we should expect 
 from a brilliant, though inadequately trained 
 intellect that had assimilated a large amount of 
 heterogeneous knowledge in his ups and downs of 
 theatrical life, and in contact with the tavern- 
 haunting boon companions of Fleet Street? 
 
 Surely, fellow jurymen, there can only be one 
 reply, and that strongly in favour of the much- 
 maligned defendant ! 
 
 This question of Shakespeare's busy life leads 
 naturally to the subject of his retirement. This 
 mysterious withdrawal from theatrical activity at 
 such a comparatively early age, is a very remarkable 
 feature, perhaps the most remarkable feature of the 
 whole case. The Baconians think it disproves his 
 authorship, and set him down as retiring from 
 business in the unpoetical manner of a successful 
 grocer. But, leaving the plays out of the question 
 altogether, and simply looking upon Shakespeare as 
 a man of strong theatrical tendencies, which the 
 known facts prove, is it not even then incompre- 
 hensible that he should have been able to suddenly 
 throw off the fascination of the stage, to resist the 
 manifold attractions of his convivial life, and burv 
 himself in "bookless" Stratford to end his days in
 
 84 The Young Man from Stratford. 
 
 the dullest of humdrum manners? Without entering 
 upon the question of the authorship of the plays, 
 this sudden change to such a violently contrasted 
 mode of life seems at first sight inexplicable. 
 
 It would certainly be easy to construct an 
 understandable theory on some such lines as the 
 following : 
 
 The dramatic profession was held in disrepute. 
 William Shakespeare had ambitions for gentility, 
 and tried to get a coat-of-arms on the strength of 
 some apocryphal ancestry. To this end he cut 
 himself adrift from his disreputable theatrical 
 associations, cast it from him as one would drown a 
 mangy cat, and tried to pose as a country gentleman 
 of birth and substance. 
 
 Although I do not hold that theory, I cannot see 
 that it is incompatible with the admitted facts. 
 
 But I think a little commonsense in the way of 
 analysis and analogy will give us a more reasonable 
 theory, and may tend to reduce the apparent 
 inexplicableness of this retirement, and, if there are 
 any medical men empanelled with us in this great 
 trial, they will be able to help us considerably in 
 returning that verdict for the defendant which 
 intimate and continued scrutiny of the plaintiff's 
 arguments makes me feel is the only just one. 
 
 T.et us see what the medicos will say to this. A
 
 A General Collapse. 85 
 
 young country youth, of a merry, convivial nature, 
 addicted to theatricals, knocks about the world in a 
 variety of unknown ways till he gets to London. 
 There he attains a high position in the theatrical 
 world, and is in all probability overworked. In 
 addition to this the few " personal " notes we have of 
 him are of drinking and debauchery, so that we find 
 him burning the candle at both ends with a 
 vengeance. What does medical knowledge and 
 experience teach us will be the inevitable result ? 
 What is nature's revenge for such abuse of her 
 gifts? Add to all this, hypothetically if you will, 
 that on top of the nervous strain of work, vexatious 
 litigation and vicious living, his seething brain 
 poured out a series of plays of dazzling brilliance, 
 and I think every medical man in the kingdom will 
 agree that the inevitable consequence would be 
 stroke, paralysis, palsy or some such irretrievable 
 mental and physical collapse. Thus we see that 
 while the retirement has no bearing on the 
 authorship, the latter has some slight bearing on the 
 retirement. 
 
 And can we not figure him in Stratford just able 
 to drag a stiffened leg or dangling arm to some 
 convenient "parlour" where the doddering remnants 
 of his wit prompted him to pen doggerel epitaphs? 
 I contend that this theory covers all the facts, for it
 
 86 The Young Man from Stratford. 
 
 explains the retirement, which in the Baconian hands 
 remains as much a mystery as ever, and accounts for 
 the inferior quality of the epitaphs that the Baconians 
 again think disproves his powers to write grand 
 plays. 
 
 It is a pathetic picture, but repeated analysis of 
 the circumstances chronicled and admitted by all 
 the Baconians forces me to accept it as the most 
 probable solution. And this explanation of mine 
 goes further, for it may have a bearing on that other 
 mystery, the will. We do not know who drafted 
 that document; the only piece of Shakespeare's 
 handwriting on it is the signature, five times 
 repeated, and in the absence of any data whatever 
 relating to his home life at Stratford, or the 
 domestic conditions there prevailing, that would tell 
 us anything to explain the underlying reasons for 
 certain of the bequests, we have perforce to take it 
 as it stands and impotently wonder. 
 
 And as to his business transactions after the 
 retirement. What proof have we that they were his 
 own doings, and on his own initiative? Only 
 presumptive evidence : strong enough, maybe, but 
 not absolutely conclusive. And if the picture I 
 have drawn of his condition at Stratford is well 
 within the bounds of probability, and, as I maintain, 
 only what was to be expected after the wear and
 
 Baconianism No Explanation. 87 
 
 tear of his previous mode of life, then there is just 
 as much presumptive evidence to support the theory 
 that his actual share in these business dealings was 
 limited to a more or less comprehending assent. It 
 were futile to insist on this point, however. All I 
 desire to do is to show the two theories. On the one 
 hand that he was able to retire from the glamour of 
 the stage an active man with full use of his 
 intelligence : on the other, that he was worn out in 
 mind and body by physical and intellectual excess. 
 I would add this, merely by way of comment, that 
 if you join the Baconians and accept the first point 
 of view; then you are as far away as ever from 
 understanding and accounting for the prime fact 
 that he did so retire. 
 
 Before leaving this question of the retirement I 
 would draw attention to a curious statement I read 
 in a so-called biography of William Shakespeare 
 prefixed to an edition of the plays. This was to the 
 effect that in the diary of a certain clergyman of 
 Stratford-on-Avon, was an entry setting forth the 
 rumour that Shakespeare was during his retirement 
 in receipt of one thousand pounds per annum in 
 consideration of his writing two plays yearly for a 
 London theatre. Of course, I refuse to accept such 
 rumour for fact, and look upon the whole tale as so 
 much irresponsible gossip, but it shows one thing
 
 88 The Young Man from Stratford. 
 
 very clearly, that William Shakespeare returned to 
 his native place with a considerable reputation as a 
 dramatist, otherwise such a servant-girl's tale could 
 hardly have got about. 
 
 Returning for a moment to the will. As is well 
 known there are five signatures to this document; 
 these being the only examples of Shakespeare's 
 handwriting it contains. Now these signatures are 
 said to be anything but perfect specimens of 
 caligraphy, and thus they provide yet another straw 
 for the drowning Baconian to clutch at* One would 
 hardly expect any reasoning being to apply a 
 handwriting test to genius, yet the illegibility of 
 these signatures is solemnly trotted out as strong 
 evidence against their perpetrator being capable of 
 the glorious diction and inspired poesy of the plays. 
 In conversation with an ardent Baconian my support 
 of tradition was actually met with the scornful 
 rejoinder: "However can you talk such nonsense, 
 when you must know the man could not sign his 
 own name properly!" 
 
 * Anyone familiar with Elizabethan script must find 
 evidence of good penmanship in this signature. The beauty 
 of the "11m" alone proves this.
 
 CHAPTER XI. 
 
 IN my introduction I had the temerity to accuse 
 the great Baconian writers of not only 
 perpetrating absurdities and fallacies, but of 
 employing transparently fallacious methods in their 
 desire to convince the general public of the truth of 
 their theory. 
 
 I maintain that in certain of the pseudo-arguments 
 they see fit to employ it is difficult to imagine that 
 they could not perceive the quaint speciousness 
 characterising so many of their contentions. I mean 
 that even were they really in their own minds 
 absolutely convinced of the truth of Baconianism, 
 their own high intellectual capacity should not have 
 blinded them to the falsity of certain quibbles they 
 bring forward in its support. It is a pity so 
 many Baconians are lawyers. I have a great 
 admiration and respect for lawyers: admira- 
 tion for their talents and respect for their
 
 qo i he Young Man /row Stratford. 
 
 sincerity, and the more convinced I am of a lawyer's 
 sincerity the more I distrust his pleadings. A lawyer 
 is the greatest paradox that civilisation has yet 
 produced, for to what is he sincere? To his case, 
 quite irrespective of the merits of that case. He must 
 plead his best for a client without troubling as to 
 v/hether the client's cause is right or wrong. He 
 must keep his mind in a non-committal state, and 
 must forever deny himself the luxury of a private 
 opinion. Not his to ask : What are the merits of 
 this case ? but, rather : how can I argue it ? The 
 success of his argument, therefore, is more to him 
 than that of his client. It is a strange piece of 
 topsy-turvydom, this ability to plead with absolute 
 sincerity for a cause the pleader may know to be 
 worthless. 
 
 Long years of seeking points on which to " argue 
 a case" may induce such a habit of mind that the 
 arguer becomes unconscious of the absurdities and 
 fallacies he occasionally provides for the diversion 
 of the jury-box. May we be pardoned for accepting 
 this as an explanation for the fact that Judge Webb 
 often parades the weakness of his case when 
 endeavouring to strengthen it ? Perhaps the most 
 notable example is the strained, but ingenious, 
 interpretation of the following fragment of one of 
 the sonnets :
 
 The ''Confession." 91 
 
 Why write I still all one, ever the same, 
 
 And keep invention in a noted weed, 
 Till every word doth almost tell my name 
 
 Showing their birth, and where they do proceed? 
 
 Webb's comment is : " Here the author certainly 
 intimates that Shakespeare was not his name, and 
 that he was fearful lest his real name should be 
 discovered." A little later on he says : " Whatever 
 was the real name of the author of the plays, he is 
 only known by the ' noted weed ' in which he kept 
 invention." 
 
 Thus we see the same tactics that were employed 
 by Penzance in the matter of Shakespeare's alleged 
 ignorance. The assumption once made is thereafter 
 treated as ascertained fact. For instance, on page 
 J I : " In the same year Shakespeare's sonnets 
 appeared, with the intimation that Shakespeare was 
 not really the name of the author." On page 79 : 
 "If we accept the confession of the author of the 
 sonnets that Shakespeare was not his real name." 
 On page 125: "We cannot forget that the gentle 
 Shakespeare himself informs us in the sonnets that 
 Shakespeare was not his real name." Similarly on 
 pages 218 and 264. 
 
 In dealing with verse one must never forget that 
 the exigencies of metre and rhyme occasionally 
 tend to obscure the thought. Often it is this very
 
 g> The Young Man from Stratford. 
 
 fact that is the charm of great poems where the 
 thoughts swim in a golden haze of poesy like the 
 half -expressed details of a Turner landscape. Hence 
 it is that we accept as a truism that many of the 
 great poets would be astonished could they but 
 know the meanings their commentators had read 
 into their works. It is common knowledge that 
 Browning occasionally forgot what he had intended 
 to convey in certain enigmatic lines. At the same 
 time, I fail to see how the lines of the sonnet in 
 question can be so obscure in their meaning. 
 
 Mutilation has helped Judge Webb to a certain 
 extent. I say mutilation for we know a sonnet to 
 consist of fourteen lines expressing a single idea. 
 Therefore, four lines from a sonnet can only be a 
 fragment of an idea. Now read the whole idea : 
 
 Why is my verse so barren of new pride? 
 So far from variation or quick change? 
 Why, with the times, do I not glance aside 
 To new-found methods and to compounds strange 
 Why write I still all one, ever the same, 
 And keep invention in a noted weed, 
 Till every word doth almost tell my name, 
 Showing their birth, and where they do proceed? 
 O know, sweet love, I always write of you 
 And you and love are still my argument ; 
 So all my best is dressing old words new, 
 Spending again what is already spent ; 
 For as the sun is daily new and old, 
 So is my love still telling what is told. 
 
 (Sonnet LXXVI.)
 
 A Weedy Argument. 93 
 
 Here we find no suggestion that the author is 
 hinting at a concealed identity. He is merely 
 railing at the impotence of verbal expression : his 
 mind is filled with invention, it teems with gorgeous 
 blossoms of thought, but the noted word is but a 
 weed on paper, and he is unable to shake himself 
 free from the trammels of his personality and verbal 
 mannerisms. The subject of his writing is ever the 
 same, and he can only tell the old, old story in the 
 old, old words. The sentiment is almost identical 
 with that in Sonnet CIII : 
 
 Alack, what poverty my Muse brings forth, 
 That having such a scope to show her pride, 
 The argument, all bare, is of more worth, 
 Than when it hath my added praise beside, etc. 
 
 The seventy-sixth sonnet carries its meaning so 
 simply, and so openly that I feel justified in con- 
 demning as valueless Judge Webb's employment 
 of the middle quatrain with the interpretation of 
 " noted weed " as a pseudonym. So far as his 
 argument is concerned this weed shares the fate of 
 many others by ending in smoke. It is an 
 interesting example of how a man may become 
 hypnotised by the possibilities of a flexible 
 language such as ours. Such methods are scarcely 
 less reprehensible than the concoction of spurious 
 cryptograms, and those who employ them put
 
 9| Ike Young Man from Stratford. 
 
 themselves out of court in so doing. They damage 
 their own cause thereby exactly as do some of the 
 over-zealous Sbakespeareans. 
 
 It would be unfair not to state that Webb makes 
 a certain attempt to justify his peculiar interpretation 
 of "weed" as meaning a disguise. To this end he 
 says : 
 
 If anyone requires an explanation of the phrase "noted 
 weed" it is supplied by Bacon, who, in his "Henry VII," 
 tells us that " Perkin Warbeck took sanctuary his principal 
 adviser, clad himself like a hermit, and in that icecd 
 wandered about the country." 
 
 Now let us look into the etymology of weed. It 
 is the modern English representative of two Anglo- 
 Saxon words. One is "weod," and had the meaning 
 familiar to gardeners, and the most well-known 
 meaning of to-day : the other is " waed," and meant a 
 garment, usually a mourning dress, a sense that 
 survives to-day in the phrase, "widow's weeds." 
 If, then, we are to take the "weed" of the sonnet in 
 the sense of waed, I fail to see that the Baconian 
 theory is strengthened, for the meaning of that 
 section of the sonnet would simply be regret at the 
 humble dress of his noble thoughts of invention, 
 for, be it observed, waed is guise, not disguise ! The 
 reference in Bacon's " Henry VII " to Perkin 
 Warbeck employs the word in that sense. A hermit's
 
 Absurdities of Logic. 95 
 
 mourning garb, or "weed" is not in itself a 
 disguise. To render weed literally by another word 
 one would say "and in that costume, garb, dress or 
 garment." To say " and in that disguise " would 
 not be literal, although the general sense of the 
 statement might remain the same. Therefore it is 
 an arbitrary proceeding to insist that " weed " in the 
 sonnet is synonymous with disguise. To convey the 
 latter idea it would be necessary to say : 
 
 And dress invention in a borrowed weed. 
 
 Furthermore, it is worthy of note that every time 
 the word is used in the sonnets it is in the 
 horticultural sense. Thus, in Sonnet XCIV : 
 "Lilies that fester smell far worse than weeds," and 
 in Sonnet CXXXIV : "Weeds among weeds or 
 flowers with flowers gathered." 
 
 Even if the Baconian theory should ultimately 
 turn out to be the only truthful one, the seventy-sixth 
 sonnet has no bearing on the case, a fact which should 
 be patent to any lawyer, however much he may like 
 to amuse himself with weeds, disguises and 
 confessions. 
 
 These things are the very absurdities of logic, and 
 they bear as much relationship to reasoning as do 
 those verbal antics called puns to humour. There
 
 gQ The Young Man from Stratford. 
 
 is the same wrench of distortion — ingenious enough, 
 maybe — but when you think it over the following 
 day how empty it all is, and how ready one then is 
 to understand the sage's dictum that the man who 
 would make a pun would pick a pocket. 
 
 If we are to accept "noted weed" as the form in 
 which the author of the sonnets not only intimated, 
 warned and informed us, but "confessed" that 
 Shakespeare was not his real name, then we have 
 nothing for it but to believe, on still stronger 
 evidence, that if Shakespeare did not write the 
 plays, he was undoubtedly the author of the psalms 
 hitherto attributed to David. 
 
 Of the various ways in which Shakespeare's name 
 is spelt, those consisting of ten letters subdivide in 
 this way : four vowels, six consonants. If we place 
 these two numbers side by side in that order the 
 result is forty-six. Now the forty-sixth psalm is 
 remarkable in that by counting from the commence- 
 ment the forty-sixth word is shake, and by counting 
 from the end backwards the forty-sixth word is 
 spear. One naturally omits the word " Selah " in 
 such counting. Here we have something more than 
 an inference, stronger than an interpretation. This 
 is absolutely direct and conclusive. What an
 
 Crushing Coincidences. 97 
 
 admirable object lesson on the value of verbal, 
 literal or numerical coincidences!* 
 
 Coincidences are such a tender fruit that any 
 considerable number of them crush themselves by 
 their own weight, like Robinson Crusoe's sack of 
 grapes. The very multiplicity of coincidences given 
 in Piazzi Smyth's work on the great pyramid were 
 their own refutation, and all that such curiosities 
 demonstrate is the universal interdependence of all 
 things. 
 
 : Here is another curiosity of coincidence. 
 
 MacBeth. 
 
 Julius CaEsar. 
 
 Comedy of ErRors. 
 
 Merchant of A'eNice. 
 
 Antony and CleopAtra. 
 
 Two Gentlemen of VeRonn. 
 
 Merry Wives of WinDsor. 
 
 Troilus and CresSida. 
 
 Timon of AtHens. 
 
 CoriolAnus. 
 
 All's Well that Ends Well. 
 The fourth letters from the end of each title are BERNARD 
 SHAW ! 
 
 8
 
 CHAPTER XII. 
 
 I NOW enter on another phase of the inferential 
 arguments of the Baconians. This deals with 
 the mysteries — the undoubted mysteries — of 
 the publication of the plays, both in quarto and in 
 folio. 
 
 The quartos appeared at irregular intervals during 
 Shakespeare's lifetime : sometimes with his name as 
 author, sometimes without. Usually his name is 
 given on the second edition of a play that had 
 previously been issued anonymously. 
 
 Apropos of this it may be as well to quote Lord 
 Penzance, who speaks as follows : " He (Shakespeare) 
 never claimed the plays as his offspring during 
 life, nor was he at any pains to have his name 
 connected with them." To those who can accept this 
 statement in the light of known facts I have nothing 
 whatever to say, for all reasoning would be wasted. 
 Even were William Shakespeare not the author, he 
 must have connived at the lie on the later title pages,
 
 The Copyright Question. gg 
 
 which was most distinctly an effective way of 
 claiming them as his offspring. And this rectifica- 
 tion of the omission in subsequent editions of certain 
 plays points to the pains of an indignant author to 
 have his name connected with them. What his 
 Lordship of Penzance is driving at is that point the 
 Baconians consider so conclusive, the fact that 
 Shakespeare's name does not occur in any of the 
 copyrighting" transactions. Some people have 
 foolishly tried to assert that copyright did not exist 
 in Shakespeare's day, but we know that such was 
 not the case. Copyright by entry at Stationers' Hall 
 was in full force, and was by no means a new or 
 recent legal enactment. But, when we remember 
 that such entry always had to be made by the 
 proprietor (publisher ?) and that, according to Lord 
 Penzance, " sometimes the entry would state by 
 whom the book was written, but this was as often 
 omitted as not," we find nothing whatever in the 
 absence of Shakespeare's name from these entries to 
 help in the conclusion that he was not the author. 
 Shakespeare was neither a printer nor a publisher, 
 therefore the duty of entering at Stationers' Hall 
 would devolve upon the printer or publisher to whom 
 he had disposed of his works. We have, unfortun- 
 ately, no deed of assignment testifying to such 
 disposal of rights, but, unless the quartos were all
 
 ioo The Young Man from Stratford. 
 
 pirated productions, as some think possible, we know 
 such disposal must have taken place. The absence 
 of any documentary evidence on that point is 
 nothing one way or the other, for to this day that 
 world which I will call Fleet Street knows of many 
 a compact sealed by a friendly glass that will never 
 be found in the public Record Office. 
 
 Glancing aside from the plays to the two poems, 
 " Lucrece " and " Venus and Adonis," which 
 appeared in 1593-4, there is to be found much food 
 for thought in the fact that they were both printed 
 and published by a fellow-townsman of William 
 Shakespeare, the player, one Richard Field who had 
 recently come from Stratford-on-Avon to London, 
 where he set up in business as a printer. This fact 
 rather discounts the idea that Shakespeare, the 
 player, and Shakespeare, the author, were two 
 separate individuals. Further evidence going to 
 show the unity of the Shakespere of the poems with 
 the Shakespeare of the plays is to be found in the 
 sonnet to " Honey-tongued Shakespeare" written by 
 John Weever in 1595, in which the author of the 
 two poems is eulogised in the fulsome manner of 
 the time, and is further credited with " Romeo," 
 " Richard," and other plays. 
 
 Some of the mysterious details conected with the 
 quartos may well give rise to conflicting theories as
 
 The 1623 Folio! 101 
 
 to the methods of their author, the legality of their 
 publication, and so forth. Rut there is so far nothing 
 in them that throws the faintest shadow of a doubt 
 on their traditional authorship. And the same 
 holds good of the Folio of 1623. About this there 
 are many suspicious and peculiar features that may 
 well engender a multiplicity of theories, or possible 
 explanations. Put the name of William Shakespeare 
 as author is the one point that remains unshaken 
 amidst the hopeless conflict that rages around his 
 feet. 
 
 The circumstances under which the Folio of 1623 
 was issued are noteworthy, and suggest many 
 problems which require the closest scrutiny. The 
 fact that this, the first collected edition of his plays, 
 did not appear until seven years after Shakespeare's 
 decease is, however, not in itself of so much import- 
 ance as the Baconians would have us believe, for 
 this reason, that it is no uncommon thing for 
 scattered works issued during life to be collected 
 into one volume some time after their author's death. 
 This is by no means a suspicious point, but falls into 
 line with known procedure in many other cases. 
 When we come to a consideration of the manner of 
 its publication, on the other hand, distrust is imme- 
 diately aroused : one feels at once that things " are 
 not what they seem," there is the taint of some
 
 102 The Young Man from Stratford. 
 
 shuffling, underhand business about the whole affair 
 that gives one furiously to think ! The men who 
 introduced this selection to the public were two of 
 William Shakespeare's fellow players named John 
 Hemming and Henry Condell, supported by Ben 
 Jonson. I call the Folio a "selection" advisedly 
 because it contains thirty-six plays only, whereas 
 some twenty more were commonly attributed to 
 Shakespeare during his lifetime. What formed the 
 basis of the selection, what principles guided the 
 choice, whether these thirty-six represent the whole, 
 less than the whole, or more than the whole of 
 Shakespeare's dramatic works are points I do not 
 propose to go into as I do not see how they can 
 influence the question. It is quite conceivable that, 
 in the case of a dramatist of such renown, there will 
 have been a number of inferior plays foisted on an 
 ignorant public as being the work of the idol of 
 the hour. 
 
 It is impossible for us to judge of Hemming's 
 and Condell's accuracy, for we do not know even 
 how these worthies came into possession of the plays. 
 And here is where the suspicious elements in the 
 whole affair begin to show themselves. Prefixed to 
 the plays in the Folio are a portrait of William 
 Shakespeare and some introductory matter charac- 
 teristic of the period in the form of Dedication and
 
 The Prevarications of the Preface. 103 
 
 Address signed by Hemming and Condell, and some 
 laudatory verses by Ben Jonson. In the Dedication 
 and Address, the two players profess to give some 
 account of their part of the business, to explain how 
 they came into possession of the MSS., and their 
 main reasons for publishing. They are careful to 
 state, according to the then fashion in Dedications, 
 that personal gain to themselves had no part in their 
 desires. 
 
 To anyone who carefully peruses the statements 
 of Hemming and Condell it will be strongly ap- 
 parent that they contain some " pretty considerable 
 tall lying," as the transatlantic phrase goes. It is 
 our place, as jurymen, to endeavour to find out the 
 truth. People lie because they wish to conceal the 
 truth : they lie to promote some ulterior motive. Let 
 us try to examine and lay bare the motives that have 
 been imputed, test them, and see if more probable 
 motives can be found. According to the Baconians 
 the prevarications of these ingenious players were 
 intended to conceal the real name of the author. 
 I contend that, since the contradictory phrases con- 
 cern the acquirement of the MSS. solely, the lie was 
 to conceal the doubtless fraudulent wav Hemming 
 and Condell had come into possession of them. Now 
 let us look more closely into the matter. In the 
 Dedication to the Earls of Pembroke and Mont-
 
 104 T& e young Man from Stratford. 
 
 gomery, Hemming and Condell declare they have no 
 ambition of "selfe-profit, or fame," but in the 
 Address to the great variety of readers you are urged 
 to buy in the most tradesmanlike manner. " Do so 
 (criticise) but buy it first." " But what euer you do, 
 Buy." Such a contradiction is, however, merely 
 amusing. The real prevarication is to be found in 
 the " we haue but collected them, and done an office 
 to the dead, to procure his Orphanes, Guardians," 
 of the Dedication, and the conflicting statements in 
 the Address wherein we are again told that 
 Hemming and Condell have "collected them" with 
 " care and pains," and, while regretting that the 
 author is no longer alive to have "ouerseen his owne 
 writings," have so published them as to give them 
 "cur'd and perfect of their limbes," and "absolute 
 in their numbers, as he conceived them." This im- 
 plies careful revision and correction, since the former 
 editions (the quartos) are condemned as " stolne, and 
 surreptitious copies, maimed and deformed by the 
 frauds and stealthes of injurious impostors." Yet, 
 a few lines further on we are told that "What he 
 thought he uttered with that easinesse, that wee haue 
 scarse received from him a blot in his papers" !
 
 CHAPTER XIII. 
 
 THUS, you see, Hemming and Condell tell us 
 that they have not only gathered and 
 collected the plays, but have been at consider- 
 able care and pains to see that the new edition should 
 be free from error, yet, in the same breath, they 
 convey the idea that they received them from the 
 author absolutely perfect, and with scarcely a blot. 
 I repeat that there is obviously some untruth in these 
 shuffling contradictions, but there is very little in 
 them to help one to judge what the real truth behind 
 it all is likely to be. The Baconians inconsequently 
 say that since plainly something is concealed, that 
 something can only be the real name of the author. 
 This, however, does not appear to me to be so 
 conclusive. In trying to penetrate the mists of a false 
 hood I endeavour to first ascertain to what that 
 falsehood chiefly refers, and, though there is but 
 little to help us, still there is that little. In the 
 present case I find all the statements in the Dedica- 
 
 105
 
 106 The Young Man from Stratford. 
 
 tion and Address relating to the author as William 
 Shakespeare to be straightforward and harmonious. 
 There is no hesitancy, no contradiction : William 
 Shakespeare is credited with the authorship, he is 
 eulogised, and his death is deplored. But when we 
 come to the statement of their financial disinterested- 
 ness, and, what is of more importance, the details 
 of acquisition, these two rascals betray at once that 
 all is not as it should be. This brings us to a ques- 
 tion suggested to me by the 1623 Folio, but not 
 touched on by any of the Baconian writers I have 
 studied. We know most of the quartos were copy- 
 righted by their publishers or proprietors : How, 
 then, did Hemming and Condell secure the right to 
 republish those that had already appeared in print? 
 This point is just as mysterious as the unchronicled 
 transfer to them of the copyrights of those plays 
 that had not yet been printed. Thus a close con- 
 sideration of the copyright question involved, 
 coupled with an examination of the subject of the 
 prevarications in the Address, compels me to the 
 theory that Hemming and Condell came by the MSS. 
 through some more or less dishonest means, and 
 consequently were obliged to wait until it was safe 
 to publish them. 
 
 We can easily construct a theory out of the known 
 facts, though it would be a difficult matter to sub-
 
 The Alleged "Renunciation? 107 
 
 stantiate it. Thus the burning of the Globe Theatre 
 in 161 3 may have been the opportunity that placed 
 the MSS. in the hands of Hemming and Condell. 
 And it seems to me very significant that they waited, 
 not merely till after the death of Shakespeare in 
 1616, but till four years after the death of Burbage 
 — who was most likely the owner of a number of 
 the plays — which took place in 16 19. 
 
 Bompas, always seeking for parallels in Bacon's 
 life, tells us that as Bacon was in low water about 
 1623, he published the plays in the Folio as a means 
 of getting in a little ready money. Webb, however, 
 takes a higher standpoint, and attempts to show that 
 the Folio with its laudatory verses by Ben Jonson, 
 and with its engraving of the Young Man from 
 Stratford as the author, is in itself an indisputable 
 proof that the plays in general, and the Folio in 
 particular were the sole work of Francis Bacon. As 
 a supporting analogy, Webb cites the case of Burke, 
 who was requested by the Whig lords to sign a 
 paper declaring that he was not the author of the 
 " Fetters of Junius," and his honour goes on to 
 surmise that Bacon may have been forced to do some- 
 thing of a like nature, the Folio of 1623 being in 
 Judge Webb's mind that document. Fie calls it, in 
 fact, "the Renunciation." He says, in speaking of 
 the " Tempest " :
 
 io8 The Young Man from Stratford. 
 
 Though the last of the marvels of the great Magician, it 
 was printed in the forefront of the Folio, and it was so 
 printed in order to attest a strange renunciation. In pub- 
 lising the Folio the great Magician broke his magic staff, 
 and doffed Ms magic robe, and deeper than plummet ever 
 sounded, he thought to drown his book. The book, how- 
 ever, was not to be drowned. It could not sink. But when 
 the book is opened the reader is startled by a strange and 
 unexpected thing ; for instead of the counterfeit present- 
 ment of the " large brow'd Verulam " he is confronted with 
 the figure of the player. 
 
 This may be a pretty piece of literature, but it is 
 not argument. It is sheer romance of the same order 
 and value as the " sporting Attorney " and diligent 
 student of some fantastic and imaginative writers 
 on the Shakespeare side. Lord Penzance, while sup- 
 porting the theory of Bacon's authorship, does not 
 venture on any speculations relating to the reasons 
 for publishing the Folio. 
 
 If we do not know how the two players became 
 possessed of the plays, neither do we know what sort 
 of copies they were that the Folio of 1623 was 
 printed from. The plays, whoever wrote them, must 
 have existed in two forms while in MS. Firstly, 
 there will have been the more or less complete draft 
 of the play as a whole, and secondly, there will have 
 been the actor's parts extracted therefrom. There is 
 no conjecture in saying that the latter were full of 
 cuts, additions, emendations and improvements. A
 
 Revisions. 109 
 
 play is such a plastic thing when produced under 
 the supervision of the author that every time one 
 of them was revived it could not help but be altered 
 and revised in many points of diction. Here we 
 find, if not an explanation for, at any rate a side- 
 light on the discrepancies between the quartos and 
 the Folio. There are those who say the Folio was 
 carefully revised by the author in order to protect 
 his reputation in the future. But if the Folio is a 
 monument to its author's genius, it is also a monu- 
 ment to the carelessness and ignorance of its 
 publishers. Typographical errors of an extremely 
 irritating nature abound, the pagination has run 
 mad, and the table of contents does not agree with 
 the contents either in substance or sequence, yet we 
 are expected to believe that this slovenly piece of 
 work emanated from that master-precisian, Francis 
 Bacon. 
 
 On the other hand we know William Shakespeare 
 had no hand whatever in the production of the 
 Folio, for, had he gone over the plays, shorn them 
 of their redundancies, supplied their deficiencies, 
 and trimmed their inelegancies in order to make 
 them "worthy of himself and his future students," 
 as Mr. Swinburne thinks, they would have appeared 
 some time prior to Shakespeare's decease. If these 
 discrepancies are to be called revisions then it cannot
 
 no The Young Man from Stratford. 
 
 "<5 
 
 be in the literary sense, but merely shows how 
 the plays were moulded and re-moulded in per- 
 formance. The only thing that is left for us to do 
 is to wonder — unavailingly, it is true — but still to 
 wonder whether those quartos that were not pirated 
 were printed from the original script, and the Folio 
 from the parts, or vice versa. This way one can 
 understand the matter by accepting the Shakespeare 
 tradition, but the theory of careful revision fits in 
 with neither Shakespeare nor Bacon. 
 
 It is by some thought that Bacon himself wrote, 
 or dictated the terms of the Dedication and Address, 
 a theory that is not very complimentary to him, for 
 I think he would not have bungled over the lying in 
 such a slipshod manner, or, if he had, it would most 
 probably have shown itself in an over-anxiety to 
 ram the name of William Shakespeare down the 
 reader's throat. There are others who think Jonson 
 wrote them, and certain portions, notably the first 
 half of the Address, are decidedly suggestive of 
 "rare Ben." If he did it affords no argument either 
 way for the whole world knows he openly was 
 concerned with the publication of the Folio. 
 
 This question of the Folio is perhaps the most 
 important of the whole series. Therefore, at the 
 risk of perpetrating "damnable iteration" I must 
 emphatically re-assert my conviction — a conviction
 
 Hemming and CondelVs Right Questioned. 1 1 1 
 
 that is the result of a very close scrutiny of the facts 
 plus the Baconian arguments — which is that : Since 
 the palpable lies refer to the manner in which the 
 MSS. were received, and not in the least to the 
 author, I must again express my firm belief that 
 Hemming and Condell had no honest right to the 
 possession of the MSS. of the plays, and in so far 
 from extolling them for disinterestedness I take a 
 diametrically opposite view of them and their 
 doings.
 
 CHAPTER XIV. 
 
 IF there is one fact in connection with William 
 Shakespeare that stands out with exceptional 
 prominence it is that aggravating one — the 
 extreme paucity of details concerning his life, char- 
 acter or work. Wherever we seek darkness hinders 
 us, every door we open reveals an almost empty 
 chamber, and what little of value the chamber may 
 contain is usually smothered in the dust of time. 
 Even that interesting and often valuable source of 
 evidence, contemporary reference — whether of praise 
 or blame — is, in the case of the young man from 
 Stratford, exceptionally meagre. Still we have a 
 certain number of " ana," and some of these are not 
 without significance. Almost a book could be 
 written — and very amusing reading it would be — 
 setting forth the peculiar methods of Baconian 
 writers in dealing with the references to Shakespeare 
 by his contemporaries. If an admirer penned a line 
 
 that tended to support tradition, it is derided, and 
 
 112
 
 "Sweet Swan of Avon" 113 
 
 we are told the writer did not know what he was 
 talking about. If some jealous scribe subjected the 
 Bard to undeserved abuse he did know what he was 
 talking about, and meant that Bacon was the real 
 author. Where they are forced to admit to them- 
 selves that neither of these positions can be taken 
 up, then they again resort to the old "Tale of a 
 Tub" game of shuffling and quibbling over the 
 wording of the sentence. 
 
 Let us begin where the last chapter left off, and 
 take the Folio of 1623. Herein, as has been already 
 stated, are certain verses in praise of the author who 
 is definitely named William Shakespeare, and is 
 apostrophied as " sweet Swan of Avon," another link 
 connecting the Stratford player with the London 
 playwright. Judge Webb has found a line in these 
 verses of Ben jonson in which the word " for " is em- 
 ployed in the sense of " instead of," and seems to 
 think that that is the sole meaning for the word known 
 to Jonson. Therefore, when Jonson, in the sonnet 
 on the engraved portrait says it was " for gentle 
 Shakespeare cut," his honour contends that he meant 
 "instead of gentle Shakespeare cut." But, gentle 
 or ungentle, the portrait most undoubtedly is an 
 indifferent one of the player, so cannot possibly be 
 "instead of" Shakespeare. Webb declares the tone 
 
 9
 
 114 The Young Man from Stratford. 
 
 of the sonnet to the figure of the player is one of 
 veiled contempt. Read it : 
 
 This figure, that thou here seest put, 
 
 It was for gentle Shakespeare cut , 
 Wherein the Grauer had a strife 
 
 With Nature to out-doo the Life : 
 0, could he but haue drawn his wit 
 
 As well in brasse, as he hath hit 
 His face, the Print would then surpasse 
 
 All, that was euer writ in brasse. 
 But, since he cannot, Header, looke 
 
 Not on his Picture, but his booke. 
 
 Now mark their reasoning : the portrait is a poor 
 specimen of the engraver's art, and is anything but 
 flattering, er go, Jonson's extravagant praise of it is 
 taken to imply that, bad as it was, it was far better 
 than the Stratford player merited. 
 
 The learned judge does not seem to perceive that 
 the sonnet is just as much an advertisement as any 
 of the beef-extract verses we are familiar with to-day. 
 If Ben Jonson accepted a commission to write a 
 poetic effusion on any person, book, or portrait, he 
 could be depended on to do it well, and not spare 
 the butter. What, do you suppose, was his private 
 interest in Alfonzo Ferabosco, the violist? Probably 
 less than nothing, yet, prefixed in the same way to 
 Ferabosco's volume of "Lessons for One, Two or 
 Three Viols " is a sonnet by Ben Jonson wherein that 
 indifferent musician is held up as being far above
 
 A Fourfold Stumble. 1 1 5 
 
 criticism. The commercial instinct was so strong in 
 Ben Jonson that if we were to collect all these 
 rhyming puffs of his, we might almost gauge the 
 varying amounts of the fees they had brought him. 
 Thus, following his own lines in the induction to 
 "Bartholomew Fair," lines which certainly inspired 
 the first half of the Address in the Folio, we might 
 say " Here was his six-penn'orth, there his shillings- 
 worth, and here his fiue-shillings or higher." 
 
 We have seen that arguments based on spelling 
 are inept : let us now look into the mare's nest Judge 
 Webb is led into when he turns his attention to 
 punctuation. I do not think anyone will hold that 
 punctuation was ever a strong point, or even a fixed 
 quantity, in the English language, yet, when his 
 honour comes to the memorial verses, he stumbles 
 at the very threshold, and draws our attention to the 
 heading, which is as follows : 
 
 To the Memory of my beloved, 
 
 The AVTHOR 
 
 Mr. William Shakespeare : 
 
 and 
 
 What he hath left vs. 
 
 judge Webb says this suggests every Shake- 
 spearean question of importance. He asks who was 
 the "beloved,"? who was "the avthor," ? who was 
 " Mr. William Shakespeare," ? and what is it he " hath
 
 n6 The Young Man from Stratford. 
 
 left vs " ? So, you see, there are three of them now ! 
 But, in that case, to which of them does "and what 
 he hath left vs" refer? Evidently to Mr. William 
 Shakespeare, since that is the name it immediately 
 follows. Thus we find that even Baconian quibbles 
 bring us back to tradition. But, seriously examined, 
 no man in his senses can surely read anything 
 in that heading other than that Mr. William 
 Shakespeare was the beloved author of the contents 
 of the Folio. Let us look into the further wonderful 
 deductions this earnest seeker after the truth extracts 
 from the verses. 
 Taking the lines : 
 
 To draw no envy on thy name, 
 
 Am I thus ample to thy Book, and Fame ! 
 
 His Honour proceeds to substitute, without adequate 
 justification, the word "odium" for "envy," and 
 then says that the publication of the plays could 
 not possibly have brought odium on the dead player, 
 but would have done so on a living noble. But the 
 word is envy, not odium, and although odium is 
 partially synonymous with envy, there is no justi- 
 fication for assuming that Jonson meant odium when 
 he wrote envy, for he had considerable judgment in 
 the shades of meaning in various words. If we seek 
 for a contemporary use of the word envy we have
 
 Envy and Praise. 1 1 / 
 
 but to look into Bacon's Essays, where we find " A 
 man that hath no virtue in himself, ever envieth 
 virtue in others." But if the word envy in the verses 
 does not mean the covetous desiring of another's 
 merits, but is used in the sense of odium, then we 
 must not forget that the original meaning of this 
 word was more hatred or ill-will than disgrace. 
 
 Ben Jonson clearly states that he desires to excite 
 admiration rather than envy by his praises. To this 
 end he feels he must praise the book more than the 
 author, though he would have preferred it the other 
 way. He points out in explanation that "simple 
 ignorance " or blind affection might do this, 
 
 Or crafty Malice might pretend this praise 
 And think to ruin where it seemed to raise. 
 
 This idea that to praise the author might be to 
 slight the book is a distinct forerunner of Pope's 
 " to damn with faint praise," but His Honour Judge 
 Webb, still makes it a basis for quibbles about "some 
 great personage whose social position would be 
 ruined though his literary reputation might be raised 
 by identifying him with the ignominies of the stage. ' 
 When Jonson apostrophises Shakespeare as the 
 "Soul of the Age" Webb says "this, certainly, was 
 not the Shakespeare of the Players." Why not? It 
 may be that the description is too high for him,
 
 1 1 8 The Young Man from Stratford. 
 
 even at our present estimate of his genius, which is 
 greater than obtained during his life. But this is 
 the " puff poetical," and no doubt was one of 
 Jonson's "fiue-shil lings-worths or higher." Jonson's 
 poetic references to Shakespeare's immortality — his 
 still living in his book — are all taken by Webb as 
 covert hints that the real author was not yet dead. 
 When Jonson says that Shakespeare seems to " shake 
 a Lance, as brandish't at the eyes of Ignorance," we 
 find extravagant praise based on the play on the 
 name — pictorial ly repeated on the frontispiece — and, 
 though we may think these lines would be more 
 applicable to the learned Bacon, there is not one 
 jot nor tittle of assumption possible that they were 
 not intended for the Stratford player. 
 
 The device on the title, showing Wit shaking a 
 spear at Ignorance from behind a mask, exercises 
 our friends considerably. They rejoice in the pos- 
 sibilities it presents for interpretation ? Of course 
 their contention is that Wit is Bacon behind the 
 mask of Shakespeare. There might be something 
 in this could it be shown that the use of a mask in 
 connection with the drama was till then unknown. 
 But it is well known that since the days of the Greek 
 playwriters a mask has been the accepted symbol of 
 the drama. Therefore the most obvious meaning 
 of the device on the Folio is that ignorance is
 
 A Lesson in Grammar. 119 
 
 attacked through the stage. The whole idea grows 
 up by easily perceived stages out of the two syllables 
 of Shakespeare's name. 
 
 Jonson, again, has a poetic flight of imagination 
 in which he says : 
 
 Sweet Swan of Avon ! what a sight it were 
 
 To see thee in our waters yet appear, 
 
 And make those flights upon the banks of Thames 
 
 That so did take Eliza and our James. 
 
 As an example of Judge Webb's method of criti- 
 cally handling anything of a poetic nature, I will 
 give in full his comment on the above lines. 
 
 " If Shakespeare was ever regarded as the Swan 
 of Avon, he was in his grave; and though the song 
 of the dying swan is a favourite fancy with poets, 
 no poet that ever lived would be mad enough to 
 talk of a swan as yet appearing some seven or eight 
 years after it was dead." 
 
 The only comment on this is to wonder whether 
 His Honour ever attempted to parse the words "what 
 a sight it were." 
 
 In these memorial verses Jonson appeals to the 
 undying intellect of Shakespeare in the words : 
 
 Shine forth, thou Star of Poets, and with rage, 
 
 Or influence, chide or cheer the drooping stage 
 
 Which, since thy flight from hence, hath mourned like night, 
 
 And despairs day, but for thy Volume's light.
 
 120 The Young Man from Stratford. 
 
 You read there the idea that the " volume's light " 
 is all that is left us, but Judge Webb is in such a 
 hurry to prove his point that he bungles everywhere. 
 This very verse he contends proves that Jonson con- 
 sidered Shakespeare (i.e., the author of the plays) as 
 still living. What about "since thy flight from 
 hence " ? 
 
 One marvels at this purblind persistence, this 
 picking out the clay rather than the crystals of truth 
 it contains. One who drowns may be justified in 
 clutching at straws, but it is not necessary to cry 
 scissors' 

 
 CHAPTER XV. 
 
 r T^HE idea that Ben Jonson obviously wrote the 
 sonnet and memorial verses to order still 
 leaves the main point at issue open. \\ e can 
 only observe that in these verses, unlike the Dedica- 
 tion and Address, no prevarication is to be found. 
 Nothing is contradictory, but all is straight- 
 forward and in accordance with tradition. William 
 Shakespeare is called the beloved author, he is 
 eulogised, his death is mourned, and the only con- 
 solation offered us is the " light of his volume." This, 
 alone, however, does not prove Jonson's sincerity. But 
 after the latter's death, his Discoveries were pub- 
 lished, and therein he speaks of Shakespeare the 
 player as a writer, and tries to justify himself for 
 having said "would he had blotted a thousand" 
 lines. In this paragraph Jonson professes to have 
 loved Shakespeare " this side idolatry as much as 
 any," and speaks of his "excellent phantasie, brave 
 
 notions, and gentle expressions wherein he flowed 
 
 121
 
 122 The Young Man from Stratford. 
 
 with that facility that sometimes it was necessary 
 lie should be stop't." There spoke the pedant ! He 
 goes on to quote an example of the absurdities that 
 Shakespeare would occasionally blunder into, and 
 concludes : " But he redeemed his vices with his 
 virtues. There was ever in him more to be praised 
 than to be pardoned."* 
 
 Now these words are taken from papers of Jonson's 
 which we may well believe to be free from any taint 
 of commercialism. They were not written to order, 
 so may be taken as a true record of private opinion. 
 But then we are brought in touch with another point 
 that excites the Baconian's suspicions, and that is 
 the palpable volte-face Een Jonson executed with 
 regard to his estimate of William Shakespeare. 
 Jonson's first writings on that subject are in the 
 form of a violent and abusive personal attack. The 
 man whom he later loved almost to idolatry is a 
 " poor poet-ape," and is accused of theft. This 
 latter point I will deal with later, the question of 
 contemporary abuse and condemnation must engage 
 our attention for the present. 
 
 We must not forget that in Shakespeare's day, 
 popular though his plays were, his genius was not 
 
 What a great mind is discerned behind that word 
 " pardoned " !
 
 Rare Ben's Volte-face. 123 
 
 appraised at anything like the value we now put 
 upon it. Therefore we must not be surprised if " the 
 Burbages had no conception of his intellectual 
 supremacy." In the bulk of cases men are either 
 over-estimated or under-estimated during life, the 
 latter being the fate of most exceptional geniuses. 
 In addition to this inability to grasp the real worth 
 of the new play-writer, we must not forget that 
 jealousy was a passion as well known in the spacious 
 times of Queen Elizabeth as at any other period 
 of human history, and what more likely to. rouse 
 the fury of the " legitimate " literary men than the 
 intrusion into their craft of a mere player. Such a 
 thing was unprecedented, and it is small wonder 
 that attempts were made on all hands to nip this 
 forward venture in the bud. Hence such outbursts 
 as Jonson's " Poet-ape," Greene's " Upstart crow," and 
 so forth. With regard to Jonson's change of opinion 
 the Baconians try to make some show of plausibility 
 for their case by showing that the attacks were 
 written before, and the eulogies after he (Ben 
 Jonson) had become associated with Bacon in a 
 secretarial capacity. 
 
 Very good, so far, but there is also the other 
 coincidence that Shakespeare was dead when the 
 extravagant eulogies were written. How old the 
 saying " Die and get a good name " may be I know
 
 124 The young Man from Stratford. 
 
 not, but the feeling which dictated it is sufficiently 
 old to serve our purpose. Not only was Shakespeare 
 removed from active competition, but Jonson had 
 been employed to write the verses to puff the 
 wares of the Folio. The tone of the paragraph in 
 the Discoveries suggests that he had been twitted 
 with his change of opinion for he complains that his 
 reply "would he had blotted a thousand" to those 
 who lauded Shakespeare for never blotting a line 
 once written, was held by some as a malicious speech. 
 I have no doubt it was, for the attempt to justify it 
 which follows in the paragraph is clumsy in the 
 extreme. Then, again, the change of front might 
 easily have been a genuine one. The upstart player 
 who had presumed to raise himself to the rank of a 
 writer had proved his powers, and his quondam 
 enemies were forced to admit it. There is tradition, 
 also, that Shakespeare, in his capacity of adviser 
 and reader to Burbage, influenced the latter to 
 produce Ben jonson's play " Every Man in His 
 Humour." This, of itself, would bring about just 
 such a change of personal feeling, and accounts for 
 the tribute to Shakespeare's honesty and open, free 
 nature which we also find in the Discoveries. So 
 that an intelligent examination into contemporary 
 attitude and writings shows that we are not forced 
 to Baconianism as the only solution of the puzzle.
 
 Contemporary Abuse. 125 
 
 In fact, the more we look into these things the less 
 of a solution does Baconianism appear. 
 
 Adverse criticism of a successful man by his 
 contemporaries proves nothing but the spite or 
 limitations of those from whom it proceeds, and the 
 following from Robert Greene's " Groatsworth of 
 Wit " is a good case in point : 
 
 .... there is an upstart crow, beautified with our feathers, 
 that with his " Tyger's heart, wrapped in a player's hide," 
 supposes he is as well able to bumbast out a blanke verse as the 
 best of you ; and being an absolute Johannes Factotum, is 
 in his owne conceit the only Shake-scene in a countrie." 
 
 The travestied line from "Henry VI," the 
 "Johannes Factotum," and the elementary attempt 
 at a pun on the name show conclusively that 
 Shakespeare was meant. That he was just such a 
 Johannes Factotum to Burbage we know full well, 
 and one seems to read between the lines of this 
 attack that he had not been so kind to Greene as he 
 had to Pen Jonson. The words " as well able to 
 bumbast out a blanke verse as the best of you" is a 
 little puzzling. At first it would appear to mean 
 the mouthing of lines upon the stage, but the passage 
 is addressed to Greene's fellow writers, and not to 
 any players, therefore to " bumbast " in that case 
 seems to be used contemptuously in the sense of 
 inventing or concocting. The "Groatsworth of 
 Wit" was edited by Chettle, who later on in his
 
 126 The Young Man from Stratford. 
 
 "Kind Heart's Dream" tried to mollify the offence, 
 and speaks of Shakespeare (as is commonly held) as 
 civil in demeanour and "excellent in the quality he 
 professes, besides divers of worship have reputed his 
 uprightness of dealing, which argues his honesty and 
 his facetious grace in writing which approves his art." 
 Thomas Nash's Epistle prefixed to Greene's 
 Menaphon is by many supposed to be an attack on 
 Shakespeare, or, rather, Bacon for having invaded 
 the province of the playwright. This, however, is 
 only based on the pun — almost as feeble as Greene's 
 "Shake-scene" — -"he will afford you whole Hamlets, 
 I should say whole handfuls of tragical speeches." 
 There is nothing to show that the pun existed for 
 any purpose but its own. Also there seems much 
 likelihood that there was more than one play dealing 
 with the history of the melancholy Dane going about 
 before Shakespeare's version came on the scene.* 
 And the idea seems to have taken the people very 
 strongly if we take into consideration the frequent 
 
 * It is impossible to imagine Shakespeare's " Hamlet" to 
 have been written before his son Hamnet was christened. 
 This curiously corrupt form points to an imperfectly 
 remembered name of a character in some play witnessed in 
 all probability on tbe groundfloor hall of the grammar 
 school. It is very significant that he should have so 
 christened his son. Of modern examples of the same spirit 
 I might mention Siegfried Wagner.
 
 Stowe's Chronicles. 127 
 
 use by various writers of " Hamlet, revenge," the 
 ghost, and so forth, not all of which can have had 
 reference to Shakespeare's play. I think we may 
 safely take it that Nash was simply attacking the 
 young lawyers who tried, as many do to-day, to 
 earn a little at dramatic writing whilst waiting for 
 clients, and that the pun on "Hamlet" was used as 
 a sort of catchword of the day. 
 
 Perhaps the most valuable of the contemporary 
 references to Shakespeare is to be found in Stowe's 
 "Chronicles" which were published in 1615, a year 
 before Shakespeare's death, wherein he is included, 
 together with Francis Bacon, in a list of twenty-four 
 of "our modern and present excellent poets which 
 worthely flourish in their own works." 
 
 Few as are these references to Shakespeare by his 
 contemporaries, they conclusively point to him as the 
 author of the plays. Of course the Baconians will 
 cry " that shows how much they knew about 
 Shakespeare," but the men who penned such violent 
 attacks on him, men with whom he came frequently 
 in contact, and possibly conflict, were clever enough 
 to have known whether he was the author or not, 
 and had they made the discovery that he was not, 
 do you not think these attacks would have taken 
 a different and more definite form ? But there, 
 perhaps you do not think.
 
 CHAPTER XVI. 
 
 I THINK that by this time we have seen how 
 the identical facts provide arguments in 
 support of tradition that are at least quite 
 as sound as those they are made to provide for 
 Baconianism. Our friends, however, adopt a curious 
 attitude with regard to tradition. Every tale that 
 is in any way discreditable to William Shakespeare 
 is gleefully accorded full belief, but those of an 
 opposite colour are scouted. For instance, no value 
 is attached to the tradition that he was the author 
 of the plays, notwithstanding that this tradition 
 had its birth during his lifetime, but the verses on 
 Sir Thomas Lucy are accepted readily enough 
 although they were not heard of till a hundred 
 years after Shakespeare's death. I am not disposed 
 to dispute the authenticity of this effusion, but I 
 wish to draw attention to the extremely slender 
 foundation on which it rests as compared to the 
 tradition of the authorship of the plays. In the 
 
 128
 
 Partial Selection of Fact and Tradition. 129 
 
 same way the Baconians will not allow the facts 
 of his rapid rise to be taken as supporting any 
 theories of his ability, but the tradition that he was 
 a butcher's apprentice in youth is paraded as a 
 powerful support to the theory that he was all his 
 life an ignoramus. 
 
 The Baconians are prepared to give full credence 
 to the tale of the drinking-bout between the youths 
 of Stratford and those of Bidford, and cite it as 
 showing how unlike a gentle and learned student 
 such a debauch would be. The German university 
 students of to-day, however, indulge in just such 
 tippling-tourneys and so-called " Bier-reisen." The 
 legend of Shakespeare's death from over-indulgence 
 in the brew of the period* is also given as demon- 
 strating the unlikeliness that such a man could pen 
 lofty flights of poesy. And yet the contrary is 
 proved in the character of Richard Greene as 
 described by Judge Webb : 
 
 Unfortunately Greene was one of those men of genius 
 who are so vividly described in " The Fortunes of Nigel "— 
 men who alternately revelled in debauchery, and struggled 
 with the meanest necessities of life. He was, in fact, the 
 victim of that fatal banquet of Rhenish wine and pickled 
 herrings, which is so frequently alluded to in the literature 
 of the time. 
 
 This is first chronicled some thirty years after 
 Shakespeare's death, and is unsupported by any evidence. 
 
 10
 
 130 The Young Man from Stratford. 
 
 The history of art and literature goes far to prove 
 that there have been many men who have enriched 
 the world with priceless and ennobling works — 
 works of intellectual refinement, untainted by any 
 grossness whatsoever, yet who were in their own 
 persons anything but insusceptible to the tempta- 
 tions of earthly appetites. 
 
 The man who penned that most gloriously 
 inspired work " The Messiah " was anything but 
 an ascetic liver. In George Frederick Handel we 
 find a remarkable parallel with William Shakespeare 
 in the matter of the originality of his productions. 
 What did Dr. Ebenezer Prout call Handel ? " The 
 Grand Old Robber," and there is much justification 
 for the witty epithet, for research shows that an 
 enormous amount of Handel's music was nothing 
 but a glorified transcription of other works. 
 Similiarly with Shakespeare, more often than not 
 it is the lines that are his, rather than the plays : 
 his genius was an intellectual alchemy, and the lead 
 and copper that he found became silver and gold 
 at his touch. Thus were old plays and still older 
 stories glorified by his " facetious grace." And do 
 we not here see the basis of those splenetic attacks : 
 " Upstart crow, beautified with our feathers " ?
 
 The Top of His Performance. 131 
 
 Poor Poet Ape that would be thought the chief, 
 Whose works are e'en the frippery of wit, 
 From brokerage has been so bold a thief 
 That we the robbed have rage and pit}' iu't. 
 
 ******** 
 
 He takes up all, makes each man's wit his own. 
 
 .... But such crimes 
 
 The sluggish gaping auditors devoured. 
 
 He marks not whose 'twas first, and after times 
 
 May judge it to be his as well as ours. 
 
 One may well understand his contemporaries 
 seeing only the " theft " and not perceiving the 
 transformation things familiar had undergone. 
 There is nothing discreditable to Shakespeare in 
 this, for we know him to have been, not a literary 
 man, but a veritable Johannes Factotum of the 
 theatre. His evident business capacity made him 
 of value to the Burbages, and, if not a great actor, 
 he could be trusted to tread the boards without 
 disgracing his management. This question of 
 Shakespeare's powers as an actor is an interesting 
 one. Contemporary reference only tells us that the 
 ghost in "Hamlet" was the "top of his perform- 
 ance." It is a little difficult to be sure if this is 
 praise or faint praise. To make the ghost effective 
 without the modern illusions of the supernatural 
 must have required some art, and the part otherwise 
 gives some scope for elocutionary acting. Altogether 
 one cannot say whether the "top of his per-
 
 132 The Young Man from Stratford. 
 
 formance" means that an insignificant part was the 
 best he could attempt, or that he achieved a striking 
 success in his portrayal of a difficult character. That 
 the author of the plays chafed at the conditions 
 under which actors worked — that he realised how 
 utterly dependent they were on their own powers 
 to make any effect — is seen in the appeals of chorus 
 in " Henry V " : 
 
 " Piece out our imperfections with your thoughts." 
 "'Eke out our performance with your mind." 
 
 That he was a man of considerable dramatic 
 insight and judgment is proved by the fact that 
 Burbage trusted him to advise on the production 
 of other's plays, and I will add, that he could on 
 emergency be depended on to throw together a play 
 based on some story told, or some indifferent play 
 known, that would hold the attention of the audience 
 by reason of its appeal to humanity, its " facetious 
 grace" and its opportunities for histrionic "effect." 
 There you have the Johannes Factotum at a glance. 
 
 As a small boy I delighted much in the conversa- 
 tion of an aged actor who, in his young days, had 
 done much " Barn-storming," and I remember well 
 many amusing tales he gave me from his own 
 experiences, not the least entertaining being the 
 frequent production of "entirely new and original"
 
 Barnstormer's Productions. 133 
 
 plays. The modus operandi was in this wise : the 
 company, having exhausted their repertoire in a 
 village, and still lacking the wherewithal to pay 
 up and depart to seek other audiences, the manager 
 would call the company together on Sunday morning 
 and a council of war would take place. If the vote 
 went against the " paying-up " part of the pro- 
 gramme, the Monday morning found a number of 
 irate landladies comparing notes. If, on the other 
 hand, the natives were not considered too bucolic 
 to be drawn, a new play would be decided upon, 
 and the work would be produced thus : the manager 
 would tell or read out a story — generally the penny 
 novelette of the period — he would then assign the 
 characters to the suitable members of his troupe, 
 and would tell them what to say, sometimes 
 scribbling out anything of particular importance. 
 They would rehearse it then and there, spend the 
 afternoon in writing out big posters, stick them up 
 at night, rehearse again on Monday morning, and 
 on the evening of that day the first performance 
 would be given. Now few will care to deny the 
 proposition that the methods of the touring 
 company have changed more in the last fifty years 
 than they did for a century or two before, therefore 
 I feel that there is nothing wild in the conjecture — 
 if, indeed, conjecture be the right word — that some
 
 134 The Young Man from Stratford. 
 
 few of Shakespeare's plays may have been of 
 similar genesis, and if, as I have before shown, he 
 was in all probability a strolling player before he 
 came to London, then he might well have brought 
 a Hamlet, if not in his pocket, certainly in his head. 
 
 But these are the probabilities the Baconians will 
 have none of. They prefer to think it probable that 
 a man who rose, as authentic history proves Shakes- 
 peare did, remained a loutish bumpkin all his days. 
 
 Another example of this arbitrary selection of 
 evidence is to be found in that "noted weed" juggle 
 I have before dealt with. Tradition is to be upset, 
 forsooth, by an utterly untenable " interpretation " 
 of a word in one sonnet, but not be supported by 
 direct statements in five others, of which the 
 following is perhaps the most striking : 
 
 If thy soul check thee that I come so near, 
 Swear to thy blind soul that I was thy Will, 
 And will, thy soul knows, is admitted there ; 
 Thus far for love, my love-suit, sweet, fulfil. 
 Witt will fulfil the treasure of thy love, 
 Ay, fdl it full with wills, and my will one, 
 In things of great receipt with ease we prove ; 
 Among a number one is reckoned none. 
 Then in the number let me pass untold. 
 Though in thy store's account I one must be ; 
 For nothing hold me, so it please thee hold 
 That nothing me, a something sweet to thee. 
 
 Make but my name thy love, and that love still, 
 And then thou lov'st me — for my name is Witt. 
 
 (Sonnet CXXXVI.)
 
 Baconian Contradictions. 135 
 
 In four other sonnets this pun is to be found, and 
 always italicised as in the above quotation, but the 
 Baconians do not seem to be aware of the fact. 
 
 The player's marvellous hotch-potch of know- 
 ledge is " paralleled " with the philosopher's deep 
 learning [the only truth in these parallels being that 
 they never meet], but we are not told that the one 
 set of writings is to a great extent morbidly erotic, 
 whilst the other, even when treating of the tender 
 passion, is not. We are not to notice that the plays 
 have to be prepared for the "young person " whilst 
 the essays are clean; but we are told that both 
 writings contain " triads," as though these forms did 
 not grace all literature, from Holy Writ downwards. 
 We are told that Shakespeare was permitted to 
 "gag" into the acting editions of the plays various 
 obscenities and ribald by-play, but we are not told 
 how these unBaconian features found their way into 
 the MSS. we are to believe the noble lord himself 
 gave to Hemming and Condell to publish. 
 
 As an excuse for the absurdities and anachronisms 
 occurring in some of the plays we are told that 
 Bacon well knew that theatre-goers did not want 
 education, only amusement. But then we nrc also 
 told that Bacon says : 
 
 Dramatic poesy is as history made visible, for it represents 
 actions as if they were present, whereas history represents
 
 136 The Young Man from Stratford. 
 
 them as past The stage is capable of no small 
 
 influence both of discipline and corruption Among 
 
 the antients it (the stage) was used as a means of educating 
 men's minds to virtue, nay, it has been regarded by learned 
 men and great philosophers as a kind of musician's bow, by 
 which men's minds may be played upon. 
 
 And again : 
 
 The art of acting should be made part of the education of 
 youth. 
 
 Then we are contumeliously reminded that 
 Shakespearean writers mar the force of their conjec- 
 tures by the free use of such qualifications as " in 
 all probability," "one can readily Delieve," "one 
 can only reasonably assume," and so forth. But an 
 examination into the writings on the other side shows 
 that Baconians are not above introducing conjectural 
 matter with these conventional apologetic curtseys. 
 
 Fellow jurors ! Can we honestly allow ourselves 
 to be hoodwinked by such clumsy attempts at 
 inductive reasoning ? It is enough to make the 
 shade of Bacon groan again to think people, banded 
 together in his name, should so travesty the science 
 he founded. It is all topsy-turvy, and the only 
 thing proved, and that most conclusively, is that 
 Baconianism is the cause and not the result of the 
 arguments set forth.
 
 i CHAPTER XVII. 
 
 FRANCIS BACON undoubtedly had strong 
 dramatic tendencies : he approved of the 
 stage, in which, as we have seen, he perceived 
 a latent power for elevation and education," and he 
 was continually taking part in the amateur 
 theatricals that constituted such a prominent feature 
 of the revels at Court, Gray's Inn, etc. Here we 
 see that Bacon had a legitimate outlet for whatever 
 theatrical tendencies he may have possessed. 
 Without this one might imagine him indulging this 
 taste in secret, but he was nearly always in request 
 as Master of the Revels and devisor of Masques, 
 so that we find thereby that Bacon is taken further 
 away from the Shakespeare plays instead of being 
 brought nearer to them. 
 
 We can certainly credit Bacon with some know- 
 ledge of stage-craft, and were the sole references 
 to acting that are to be found in the plays in the 
 character of Hamlet's directions to the plavers, one 
 
 137
 
 138 The Young Man from Stratford. 
 
 might think a literary man capable of evolving 
 them. But, as I have before insisted, the actor is 
 seen very strongly in these plays, and I am inclined 
 to think none but a man who had with difficulty 
 worked his way upwards in the dramatic profession 
 could have Denned the first clown's scene in the 
 
 1 
 
 "Midsummer Night's Dream." The satire on the 
 actor-manager is exquisite, and not in the least out 
 of date yet. These are the things that one does 
 not expect from the philosopher. 
 
 On the other hand, we are told that the plays 
 display intimate knowledge of the ways, manners 
 and customs of lords, ladies, and gentlefolk gener- 
 ally, which could not possibly be familiar to an 
 ignorant bumpkin. Now, let us see how a jury of 
 intelligent men view this argument. The last ten 
 years of Shakespeare's life prove that there was 
 nothing of the ignorant bumpkin about him, and, 
 as he died, so he lived, with "ideas above his 
 station." Truly a provincial youth of to-day could 
 not gain much knowledge of the habits of the 
 "nobility and gentry," no matter to what heights 
 his ideas tended, but we have to take into considera- 
 tion a large number of co-relative circumstances and 
 conditions if we are to get an intelligent under- 
 standing of such a point. 
 
 In this particular case, if we wish to formulate
 
 All Eyes and Ears. 139 
 
 any reliable theory to show how young Shakespeare 
 could have gained a familiarity with the conduct 
 of the Elizabethan " smart set," we must first 
 examine the geographical position of Stratford-on- 
 Avon. This town we find situated on a main road : 
 it is nine miles from Warwick Castle, and some 
 thirteen miles from Kenilworth. The main road 
 connects these places with Coventry, Gloucester and 
 other important towns. The next thing to examine 
 is the method of travel common in Elizabeth's day. 
 We know very well that at that time one could not 
 travel unobserved by Pnlman car. Then the progress 
 of the haute noblesse from place to place almost 
 amounted to pageantry, and halts had to be made 
 at various hostelries en route for rest, refreshment 
 and change of horses. Now, can we not see our 
 young apprentice of the soaring brain neglecting 
 his work, in all probability, to witness these sights : 
 mingling with the servants, hearing their gossip, 
 even seeing my lord hand my lady out of her coach 
 and into the inn, and treasuring up in his memory 
 every courtly phrase and gesture ? And in the same 
 way we can picture him, all eyes and ears, scampering 
 off to Warwick or Kenilworth when festivities and 
 revels were in progress, and returning home laden 
 like a bee with sweet gleanings that, on maturing, 
 would earn for him the epithet " honey-tongued."
 
 140 The Young Man from Stratford. 
 
 Thus everywhere we find the Shakespeare cause 
 strengthened and the Baconian weakened, for, while 
 we can with ease point to a way for the Stratford 
 player to acquire an insight into high life, it would 
 be extremely difficult for any one to show how the 
 noble Lord Keeper could have gained the still more 
 intimate knowledge of low life and degraded 
 manners displayed in so many of the scenes. 
 
 In all these examples of the arbitrary selection 
 of evidence we recognise the peculiar mental twist 
 — the intellectual distortion — of the lawyer spoken 
 of before. Judge Rentoul, in a magnificent oration 
 I once heard him deliver to the Antient Society of 
 Cogers on the occasion of their one hundred and 
 fiftieth anniversary celebration, spoke of the English 
 jury-system, and said that no jury of lawyers could 
 be depended upon to return such equitable verdicts 
 as were to be obtained from juries of non-legal men 
 of varied walks in life. Justice Bucknill, too, in 
 the Court of King's Bench on May 14, 1906, said : 
 "We lawyers are often inclined to split hairs, ana 
 take a narrow view of things; while juries take 
 commonsense views, and are broadminded." 
 
 Therefore it is that we — my fellow-jurors and 1 
 — are called upon to hold the true-balanced scales 
 of Justice in which the lawyer's light-weight is 
 finally appraised.
 
 Question of Education. 141 
 
 Let us, then, carefully analyse what the prosecu- 
 tion says; see whether their theories are plausible, 
 and if so, see whether they are the only plausible 
 ones possible to construct on the same groundwork. 
 Take notice that some arguments cut both ways, 
 as the knowledge of high and low life. Notice, 
 also, those that do not come mathematically true 
 in the converse, as the question of education. 
 Remember that, could it be demonstrated beyond 
 the possibility of denial that William Shakespeare 
 did have a complete and elaborate education, this 
 would not by any means prove that he wrote the 
 plays : it would barely prove that he could have 
 written them. On the other hand, if we can underpin 
 the foundations of tradition, and so bring the 
 authorship home to him, then that fact by itself 
 would prove indisputably that he did gain a large 
 amount of knowledge in some way or other. It 
 would then be easy of belief if still no less difficult 
 of comprehension. 
 
 While we cannot help seeing that there certainly 
 is an unfortunately large amount of Shakespeari- 
 oiatry on the one hand, we must not be blind to the 
 excessive Baconiolatry on the other. If the one is 
 glorified into an impossible kind of student, the 
 other is certainly being almost canonised. We must 
 not let our judgment be warped — we must remember
 
 14- The Young Man from Stratford. 
 
 that they were both men. And of Shakespeare I 
 would say that the features of his life are much 
 like his sonnets. Some are gloriously inspired 
 poesy, some are obscure, and of others it can be 
 only said that when you have grasped their full 
 significance you wish you had not ! That is why 
 I leave Southampton out of my survey. 
 
 A distinguished naturalist was once given a 
 solitary bone of a prehistoric animal brought home 
 by a traveller. From that bone he was able to 
 reconstruct the entire animal, and to tell us its 
 dimensions, what it lived on and how it acted. 
 Can we not do something similar with William 
 Shakespeare? If we have not a complete skeleton 
 we have several bones, and, surely, our knowledge 
 of human nature should enable us to do with the 
 young man from Stratford what the naturalist did 
 with the Saurian. It has certainly been attempted, 
 but bias has prompted some to contend that a mole 
 which others counted an eagle. 
 
 Fellow jurymen ! there are four Shakespeares 
 before you — which will you have? Here I set them 
 out for comparison * Firstly, the scattered bones of 
 accurate record, secondly, the ghostly and unreal 
 phantom raised by the Shakespeareans, thirdly, the 
 
 * Vide Tabulated Summary at end.
 
 Fact, Tradition and Human Nature. 143 
 
 Baconian's man of straw, fit only for fifth of 
 November celebrations, and lastly, what I contend 
 to be the man of flesh and blood, Shakspere, who 
 was born and buried in Stratford-on-Avon, 
 Shagspere, who was married there, Shaxberd, the 
 "poet that made the plaies " for court functions, 
 all one with Shakespeare the " honey-tongued " who 
 had such a " facetious grace in writing," such " brave 
 notions" and "excellent fantasies." and in whom 
 there was ever " more to be praised than to be 
 pardoned." 
 
 It only remains for me to repeat my question— 
 Which will you have? Will you be content to 
 simply gaze on the first as in a museum, and pass 
 by uttering no comment, will you accept blindly the 
 fantastic wraith the Shakespeareans offer, or the 
 equally fantastic bogey of the Baconians, or will 
 you look into the matter closely, scrutinize it as 
 jurymen, and see if I have not given you something 
 which in the main is more credible ? To accurately 
 fill in the blanks in Shakespeare's life is too much 
 to hope for, but I have at least evolved a theory 
 that has no fantastic elements, that agrees with the 
 facts as well as with the traditions, and that, 
 furthermore, agrees with human nature. 
 
 To hope to re-convert a Baconian is beyond my 
 aspirations, but I may be the means of checking
 
 144 The doling Man from Stratford. 
 
 some on the brink of Baconianism. I have 
 endeavoured to point to a reason for faith in tradi- 
 tion, and to strengthen those who would dearly love 
 to believe were they not dazzled by forensic 
 Baconianism. 
 
 The Shakespeareans have builded them a shrine 
 of gilded filagree, near by the Baconians have set 
 up one of lath and plaster. It is my desire to see 
 erected in place of both one of enduring marble 
 pillared on fact, buttressed by evidence, and 
 decorated with analogy that shall withstand the 
 assaults of time, emnity and wantonness. In it 
 all that is noblest of the player-poet shall be 
 enshrined and 
 
 So will I pray that thou mayst have thy WILL.
 
 TABULATED SUMMARY 
 
 OF 
 
 FACTS AND SUPPOSITIONS. 
 
 ii
 
 PPOSITIONS 
 
 BY 
 | BACONIANS (THE PRESENT WRITER 
 
 Born April. As the 
 school was free, 
 almost certain to 
 have attended, and 
 learnt something, if 
 only Latin. 
 
 Apprenticed to 
 father, in what exact 
 capacity not known. 
 
 Married unhappily. 
 
 Most probably 
 joined a company of 
 strolling players. 
 Acting developed 
 latent talent. Drifted 
 about in various 
 ways, and ultimately 
 arrived in London. 
 
 Born about April 
 23. May have at- 
 tended grammar 
 school, but certainly 
 learnt next to 
 nothing. 
 
 o 
 
 CO 
 
 o 
 
 • pM 
 
 +-> 
 
 C 
 
 CO ■ 
 
 Married under very 
 questionable circum- 
 stances. 
 
 Came to London 
 andbecamean ostler. 
 
 SU 
 
 SHAKESPEAREANS 
 
 Born April 23. 
 
 Attended Stratford 
 Grammar School, 
 learnt Latin, etc. 
 
 Apprenticed to 
 father, who was 
 partly a woolstapler 
 and butcher. 
 
 Married under 
 romantic circum- 
 stances. 
 
 Left Stratford. 
 Was part time school- 
 master. Travelled 
 abroad. Studied 
 classics, languages, 
 law, science, medi- 
 cine, etc. 
 
 ASCERTAINED 
 FACTS 
 
 CD 
 <M 
 
 • i-* 
 
 Si 
 
 < 
 
 03 
 
 pq 
 
 Apprenticed to 
 father. 
 
 CO 
 
 'u 
 U 
 cS 
 
 c 
 ■-. 
 
 «*< 
 
 T3 
 CO 
 Si 
 ej 
 
 £° 
 
 CO +- 
 
 CD 
 ID 
 
 1577 
 
 (aged 
 
 13) 
 
 1582 
 
 (aged 
 
 18) 
 
 1585-7 
 
 (aged 
 
 about 
 
 22)
 
 No doubt penniless 
 and glad to pick up 
 a few pence while 
 waiting tobuttonhole 
 Burbage. Rose as 
 manager, actor, play- 
 wright and gener- 
 ally " Johannes Fac- 
 totum." Undoubt- 
 edly edited, con- 
 cocted and wrote 
 plays. 
 
 Mental and physi- 
 cal strain caused 
 health to break 
 down ; hence with- 
 drawal from active 
 life. 
 
 ( MSS. got into 
 < hands of Hemming 
 t and Condell. 
 
 Folio published by 
 Hemming and Con- 
 dell as it was now 
 safe for them to do 
 so. 
 
 Still a stable hand. 
 Became an indiffer- 
 ent actor (super). 
 
 A confirmed money- 
 grubber. 
 
 Sold his name to 
 Bacon as a pseu- 
 donym. 
 
 Retired f rom busi- 
 ness like a successful 
 huckster. 
 
 
 Folio published by 
 Fr. Bacon, Hem- 
 ming and Condell 
 being merely his 
 agents, in order to 
 prove he was not 
 the author. 
 
 From poverty rose 
 to fame as a great 
 poet and dramatist. 
 
 Retired to native 
 place to end days in 
 peacefulness. 
 
 
 Folio published by 
 Hemming and Con- 
 dell out of love for 
 Shakespeare, and the 
 disinterested desire 
 to have his works 
 rightly preserved. 
 
 Found hanging 
 round Burbage's 
 Theatre in London. 
 
 Rose rapidly. Be- 
 came part owner of 
 two theatres, and 
 was alleged to have 
 written plays. 
 
 Retired to Strat- 
 ford. 
 
 Globe Theatre burnt. 
 Shakespeare died. 
 
 Burbage died. 
 
 Folio published by 
 Hemming and Con- 
 dell. 
 
 1592 
 
 (aged 
 
 28) 
 
 1611 
 
 (aged 
 
 47) 
 
 1613 
 1616 
 (aged 
 53) 
 1619 
 
 r- < 
 
 Printed by The New Temple Press, Cicydcn.
 
 CATALOGUE B 
 
 
 p¥pQ ! 
 
 Containing Works arranged under the following headings 
 
 BIOGRAPHY 
 HISTORY 
 
 CRITICISM 
 
 ORCHESTRA 
 
 /ESTHETICS 
 
 PIANO 
 VIOLIN 
 
 ESSAYS 
 
 VOCAL 
 
 WAGNER 
 
 ETC. 
 
 " Mr. W. Reeves, who has established his claim to be regarded as the 
 recognitid publisher of English Musical Literature, has a strong list of 
 books for the amateur and the professor."— Publishers' Circular. 
 
 " The best and safest method for the inexperienced to adopt, is to make 
 application to some leading and trustworthy publisher of musical books of 
 the class in question, reiving' on his judgment and the traditions of his 
 house to supply what is genuine and suitable. Without being invidious, 
 we may say that such a oublisher is Mr. W. Recrea." — Bazaar. 
 
 ■'The Press which in recent v ears has given to (he musical world so much 
 that is of intrinsic value.''- Sheffii Id Daily I ink pendent. 
 
 PUBLISHED BY 
 
 W. REEVES, 83, Charing Cross Rd , London, WA 
 
 i 
 
 Revised Editions of thin Catalogue 7? arc issued in the Spring and 
 
 Autumn of e~>ch year.
 
 MISCELLANEOUS. 
 
 504 OLD WELSH AIRS. The Lays of My Laud. Alawon Fy 
 Ngwlad. Collected by N. Bennett. Arranged for 
 the Pianoforte or Harp by D. E. Evans. With 12 
 Portraits of the old Welsh Harpers, and a short Account 
 of their Lives. Together with an Essay on Pennilion 
 Singing. Portraits of 10 Celebrated Pennilion Singers. 
 108 pages, the original two volumes bound in one vol., 
 folio, cloth gilt, lettered 12s. 6d. net. 
 
 The above is the largest collection of Welsh Airs ever published and 
 includes some of the oldest Cambrian melodies extant, and contains in the 
 one volume the original publication to subscribers issued in two volumes 
 at £2 2s. Notwithstanding 1 the collections of Parry, Jones, Thomas and 
 others, hundreds of old Cambrian melodies still remained scattered 
 throughout the country in manuscripts, or were retained in the memory 
 of harpists, Pennilion singers and others who loved and cherished the 
 folk-songs of the past. 
 
 To collect some of these treasures, and rescue them from inevitable 
 oblivion, says the compiler, has been to me a labour of love for more 
 than half a century * * I secured many an old air of exquisite beauty 
 from some venerable harpist, or aged Pcne.ilion singer tottering on the 
 brink of the grave. 
 
 ENGLISH GLEE AND MADRIGAL WRITERS. By W. A. 
 
 Barrett. 8vo, cloth, 2s. 6d. 
 
 " Mr. Barrett is highly to be commended, no less for the vast amount of 
 reliable information which he has collated upon the subject in hand, than 
 for the concise manner in which, for the benefit of the reader, he has 
 compressed it into a small space." — Monthly Musical Record. 
 
 NATIONAL SCHOOL OF OPERA IN ENGLAND. Being 
 
 the Substance of a Paper read before the Licentiates of 
 Trinity College, March, 1882. By Frank Austin. 
 Post 8vo, sewed, 6d. 
 
 MODEST IDYLLS FOR MUSICAL SETTING. By Ernest 
 Alfieri. Is. net. 
 
 SONGS FROM THE RAVEL. (Words for Musical Setting.) 
 A Book of Prose-Lyrics from Life and N. ture. By 
 Ernest Austtn. Op. 30. Crown 8vo, sewed, 2s. 6d.
 
 AESTHETICS, CRITICISMS, ESSAYS. 
 
 MODERN TENDENCIES AND OLD STANDARDS IN MUSI- 
 CAL ART. By J. Alfred Johnstone, Hon. L.Mus. 
 T.C.L. Author of "Touch, Phrasing and Interpreta- 
 tion," "The Art of Teaching Piano Playing," etc 
 Crown 8vo, cloth, 5s. 
 
 IMAGINARY INTERVIEWS WITH GREAT COMPOSERS 
 
 (Chopin, Haydn, Mendelssohn, Paganini, Beethoven, 
 Handel, Rossini, Schubert, Liszt, Berlioz, Alozart, 
 Wagner, Tchaikovsky, Cherubini, Hugo Wolf, Borodin, 
 Schumann and Sullivan), a Series of Vivid Pen Sketches 
 in which the Salient Characteristics and the often Ex- 
 travagant Individuality of each Composer are Truth- 
 fully Portrayed. By Gerald Cumberland. Frontis- 
 piece. Crown 8vo, cloth, gilt top, 6s. 
 
 " They are vivid impressionist sketches, cleverly executed, and very 
 interesting." — Music. 
 Rutland Boughton, in the columns of The Musicnl Standard writes : 
 " These are not mere fantastic juggleries, but studies of the various 
 composers from their own standpoints to their art. They afford, with one 
 or two striking exceptions a really valuable insight into the very nature 
 of the different masters; and so into the nature of their music. And 
 because of this the book will be a great help to the musical student." 
 
 " . . . . Each of his interviews is the revelation of a personality and each 
 is a masterly piece of literary presentment .... Mr. Cumberland has put 
 musicians under a debt of gratitude by placing in their hands a book that 
 will do more than inform, that will inspire." — Percy A. Sckoles in 
 Musical Opinion. 
 
 " To conjure up visions of the creator of a wonderful symphony or a 
 great choral work in his surroundings, and to picture the various influ- 
 ences that are making their indelible mark on his manuscript ; what can 
 prompt a wider understanding, a keener appreciation and a sounder criti- 
 cism of the finished score? .... The book should be read by all music- 
 lovers." — Manchester City News. 
 
 " All lovers of music will delight in the perusal of this extremely read- 
 able volume .... the reader will learn much of that psychological com- 
 plexity that often accompanies great and creative genius. Although the 
 interviews are but sketches they contain nothing that is not essentially 
 true and characteristic." — Montrose Standard. 
 
 THE PLACE OF SCIENCE IN MUSIC. By H. Saint-George. 
 Addressed to advanced students of that branch of musi- 
 cal knowledge commonly called Harmony. 8vo, sewed, 
 Is. 
 
 Mr. Baughan rejects the academic view of form as firmly as Mr. Saint- 
 George rejects the academic view of harmony and counterpoint. The 
 academics base their harmonic theories on laws of nature which Mr. 
 
 Saint-George shows do not exist Has joined Mr. Saint-George in 
 
 the attack which will end in the total discomfiture of the academies. — J. F. 
 Runciman in the Saturday Review.
 
 .ESTHETICS, CRITICISMS, ESSAYS. 
 
 THE FUTURE OF MUSIC, Coming Changes Outlined in 
 Regard to Composer, Conductor and Orchestra. By 
 Louis Laloy. Author of " Aristoxene et la Musique de 
 l'Antiquite," "Claude Debussy," "Rameau," "La 
 Musique Chinoise." Translated by Mrs. Franz Lie- 
 bich. 8vo, cloth, 2s. (paper, Is. net). 
 
 This book points to a time when new modes of scales will take the 
 place of the now familiar diatonic forms, and many other changes are 
 likely to ensue. The possible forms these changes may take are set forth 
 in this most interesting publication, together with a general survey of 
 musical history." — Irish Presbyterian 
 
 " This little book is one of the most enlightening things we have read 
 for some time, and all musicians — professional and amateur — will be the 
 wiser after carefully assimilating the author's views. The translation by 
 Mrs. Liebich is excellently done." — Cheltenham Examiner. 
 
 THE SYMPHONY WRITERS SINCE BEETHOVEN, Schu- 
 bert, Schumann, Gbtz, Brahms, Tchaikovsky, Bruckner, 
 Berlioz, Liszt, Strauss, Mahler, Mendelssohn, Saint- 
 Saens, etc. By Felix Weincaktner. Translated by 
 A. Bles. Many Portraits. Cr. 8vo, cloth, gilt top, Gs. 
 " Most stimulating and suggestive, full of acute thinking, of felicitous 
 expression." — New York. 
 
 " The book is certainly well worth reading." — Daily Chronicle. 
 
 A most faeeinating book * * * the works of the various composers are 
 critically discussed in regard to form and orchestration." — Musical Star. 
 
 GREATER WORKS OF CHOPIN. (Polonaises, Mazurkas, 
 Nocturnes, etc.), How they should be Played. Bv 
 J. Kleczynski. Translated by Miss N. Janotha ana 
 Edited by Sutherland Edwards. With Portrait, Fac- 
 simile, etc. Crown 8vo, cloth, 5s. 
 
 " A new book on Chopin which will doubtless receive a warm welcome 
 from the lovers of the greatest genius of the pianoforte. * * * What gives 
 this book a unique value of importance as a novelty is that it includes 
 what is left of Chopin's notes for a pianoforte method which, brief as it is, 
 contains some valuable and interesting hints which will benefit all pianists 
 and students." — New York Evening Post. 
 
 MEZZOTINTS IN MODERN MUSIC. Brahms, Tchaikov- 
 sky, Chopin, Strauss, Liszt and Wagner. By Jas. 
 Huneker. Third Edition. Crown 8vo, cloth, gilt top, 
 Vs. bd. 
 
 Coktfnts.— The Music of the Future (Brahms)— A Modern Music Lord 
 (Tsehaikowsky)— Richard Strauss and Nietzsche— The Greater Chopin — A 
 Liszt Etude— The Royal Road to Parnassus —A Note on Richard Wagner. 
 
 " Essays filled with literary charm and individuality, not self willed or 
 over assertive but gracious and winning, sometimes profoundly contempla- 
 tive, and anon frolicsome nud more inclined to chaff than to instruct — but 
 interesting and suggestive always. " — New York Tribune.
 
 .ESTHETICS, CRITICISMS, ESSAYS. 
 
 MUSIC AND MUSICIANS. Essays and Criticisms, by Robert 
 Schumann. Translated, Edited and Annotated by F. 
 R. RiTTER. Portrait of Robert Schumann, photo- 
 graphed from a Crayon by Bendemann. First Series, 
 7th Edition. Thick cr. 8vo, cloth, 419 pages, Ss. 6d. 
 
 Ditto. Second Series, Third Edition. Thick crown 8vo, 
 cloth, 540 pages, 10s. 6d. 
 
 There are two sides to musical criticism, both equally interesting ; tiie 
 one, which is scientific analysis of musical form and treatment, possible 
 only to experienced musicians, the other, which is the spiritual percep- 
 tion of the aesthetic side and influence of music, possible for any great 
 mind whose perceptions are keenly cultivated in the highest canons of 
 any art. Schumann represented the ideal musical critic, in that both 
 of these essential points in criticism are to be found in his writings. — 
 From the Introduction to " Uuskin on Music." 
 
 Scarcely find words sufficiently Btrong to express our delight * * * a 
 book so rich in thought, so full of humour, so remarkable for its refined 
 sarcasms, so original in its criticisms, so sprightly and elegant in luu- 
 truao-e. — K vt?t. Mrrtz in the* Mvfical World. 
 
 The translations are vigorous and clear, and the exact sense of the 
 originals, as far as possible, has been preserved. — New York Musical 
 Courier. 
 
 A disquisition upon the value of Schumann's labour a3 an art critio 
 •eema quite uncalled for at the present date. Suffice it to say that it can 
 hardly be over-estimated, and that his writings are as interesting and 
 instructive at the present as they were when they were first penned. — 
 Monthly Musical Record. 
 
 There is no use in trying to quote characteristic passages, because the 
 volume is of such uniform merit and such continuous interest that it is 
 impossible to make a selection. Musicians who take up the book will not 
 find it easy to put it down again. — Athcnwum. 
 
 Most fascinating reading, even to those who are not deeply versed in 
 music. — Wr.ztminster Review. 
 
 MOZART'S DON GIOVANNI. A Commentary, from the 
 Third French Edition of Charles Gounod. By W. 
 Cr.MiK and J. T. Hutchinson. Crown 8vo, cloth. 3s. 6d. 
 
 HOW TO PLAY CHOPIN. The Works of Chopin and their 
 proper Interpretation. By J. Kieczynski. Translated 
 by A. Whittingham. Fifth Edition. Woodcut and 
 Music Illustrations. Post 8vo. cloth. 3s. Gd. 
 
 •' Contains the cream of Chopin's instructions to his own pupils. To 
 admirers of Chopin and players of his musio we should say this book is 
 indispensable." — Razaar. 
 
 " It contains many interesting details and profitable hints. The author 
 has much to tell us about the great pianist, as a teacher as well as a 
 composer. Chopin as a composer remains to us as a heritage, but the 
 tradition of his playing and teaching is naturally becoming every year 
 more and more vague. So our author deserves praise for his attempt to 
 snatch from oblivion any remembrances of the ' manner and touch ' of the 
 master."— Academy.
 
 8 ESTHETICS, CRITICISMS, ESSAYS. 
 
 THE DEEPER SOURCES 01 THE BEAUTY AND EXPRES- 
 SION OF MUSIC. By Joseph Goddard. Author of 
 "Musical Development," "A Study of Gounod's Re- 
 demption," etc. With many Musical Examples. Crown 
 8vo, bevelled cloth, 3s. 6d. 
 
 Contents. — Chapteu I.— The Seeming Anomaly between the Human Origin 
 of Music and its Elevated Beauty. Chapter II.— Abstract Musical, 1 ik<- 
 Natural, Beauty is a Chance Fitness or Coincidence, of which the Visible 
 Conditions are the Plasticity in Human Faculties and the Diversity in 
 Outward Nature. Chapter III. — Timbre and Vowel Sound briefly Analyzed ; 
 the Sensibility formed in the Ordinary Course of Natural Evolution to 
 answer to them, lets into our Nature the World of Harmony. Ohaftkb 
 IV. — The Larger Bea«ons why Music is Free of the Objective World, and 
 Discontinuous. Chapter V. — Contrast in Scenio Effect and in Music 
 Chapter VI. — The Source of those Distinct Suggestions of the General 
 World which are Fundamental to the Musical Sensation— Position, Diree 
 tion, Movement and Visual Form. Chaptee VII. — The Second Factor in 
 the Inherent Connection between Music and Motion : the Seise of the 
 Horizontal lafe:it in the Principle of Time. Chapter VIII. — Tonality. The 
 Principles of Unity and Delimitation. Chaptee IX. — Statement of the Full 
 Case for the Explicability of MuBical Expression from the Standpoint of 
 the Influence of Speech. Ckafter X. — Darwin's Hypothesis of Musical Ex- 
 pression. The Tendency of Music to Grew Old. The Influence of In 
 herited Feeling in the Effect upon us of Art and Nature. Chaptee XI. — 
 The Limitation involved in Music being the World of a Single Sense, is a 
 Source of its Power. Statement of the Principle of Arbitrary Association. 
 Chaptee XII. — Summary and Concluding Remarks. 
 
 BEETHOVEN'S PIANOFORTE SONATAS Explained for the 
 Lovers of the Musical Art. By Ernst von Elterlein. 
 Translated by E. Hill, with Preface by Ernst Patjer. 
 Entirely New and Revised Edition (the Sixth). With 
 Portrait, Facsimile and View of Beethoven's House. 
 Crown 8vo, cloth, 3s. Gd. 
 
 " He writes with the ripe knowledge and thorough understanding of a 
 practical musician. Every musical student or amateur can safely trust 
 him as a competent and agreeable guide. This English translation is most 
 opportune, and will doubtless assist many a lover of Beethoven's music to 
 appreciate more keenly the master's Sonatas." — E. Paueb, 
 
 BEETHOVEN'S SYMPHONIES in their Ideal Significance, 
 Explained by Ernst vo:; Elteri.ein. Translated by 
 Francis WeBer. V\ ith an Account of the Facts Re- 
 lating to Beethoven's Tenth Symphony. By L. Nohl. 
 Second Edition, with Portrait. Crown 8vo, cloth, 
 3s. 6d. 
 
 This small volume is intended in the first place, and more especially, for 
 the earnest and thoughtful amateur, to whom it is to be a guide and com- 
 panion in the artistic enjoyment and conscious appreciation of Beethoven's 
 Symphonic Masterpieces. At the same time the work may net be unwel- 
 come also to the practical musician-
 
 ESTHETICS, CRITICISMS, ESSAYS. 
 
 FROM LYRE TO MUSE. A History of the Aboriginal 
 Union of Music and Poetry. By J. Donovan. Crown 
 8vo, cloth, 2s. 6d. net (pub. 5s.) 
 
 Chaptf.hs : — 1. Musical Impression. 2. History of Aboriginal Music. 3. 
 Music and Individuality. 4. Fusion of lihythm and Tones. 5 Fusion of 
 Tones and Words. 6. How Harmony was Developed 7. Definition and 
 Diagram of Evolution of Music. 
 
 SCHUMANN'S RULES AND MAXIMS. For young Musi- 
 cians. Sewed, 2d. 
 
 " The ' Rules and Maxims ' might have been entitled ' Proverbs,' for the 
 truth of none erf them can be called into question, and they give students 
 the very best advice." — Figaro. 
 
 " A valuable store of hints and information, shrewdly written and per 
 tinently put." — Musical Opinion. 
 
 BEETHOVEN'S SYMPHONIES Critically Discussed by A. 
 
 Teetgen. With Preface by John Broadhouse. Second 
 
 Edition. Post 8vo, cloth, 3s. 6d. 
 
 " We must say that many of his observations are not only acute but 
 extremely just." — Musical Times. 
 
 " Mr. Tee + gen gives evidence of deep knowledge of his hero's works, he 
 supplies the reader with food for thought and reflection. We commend this 
 little book to the attention of our readers." — Musical Opinion. 
 
 " Mr. Teetgen is a devout, though not a blind, worshipper of Beethoven." 
 — Musical Standard. 
 
 PURITY IN MUSIC, By A. F. Thibatjt. Translated by J. 
 
 Broadhouse. Crown Svo, cloth, 2s. Gd. 
 
 Co.vtents.~1. On the Chorale. 2. Church Music other than the Choral. 
 3. Popular Melodies. 4. The Educating Influence of Good Models. 5. 
 Effect. 6. On Judging the Works of Great Masters. ". As to a Liberal 
 Judgment. 8. On Perversions of Text. 9. Choral Societies. 
 
 Schumann says:— "A fine book about music, read it frequently." 
 
 WOMAN AS A MUSICIAN. An Art Historical Study. By 
 I. R. Ritter. 8vo, sewed, Is.
 
 BIOGRAPHICAL. 
 
 sOME MUSICAL RECOLLECTIONS OF FIFTY YEARS. 
 
 By Richard Hoffman. With Memoir by Mas. Hoff- 
 man. Illustrated with many Plate Portraits. Crown 
 8vo, cloth, 6s. 1910 
 
 Richard Hoffman, born Manchester, 1831, a distinguished pianist, a 
 successful and popular teacher in the States and a noteworthy composer. 
 
 Delightful reminiscences of musicians and musical affairs in America 
 and England. The account of Mendelssohn's leading of the " Elijah " at 
 Manchester ; of Jenny Lind and her appearance at Castle Garden and her 
 tour of America under T. P. Barnum, throughout which tour Hoffman 
 accompanied her as the solo pianist; of Thalberg, Von Bulow, Gottsehalk, 
 Liszt, and many others, and of the audiences and concerts throughout the 
 country fifty years ago, makes most interesting reading. 
 
 Richard Hoffman studied under Pleyel, Moschcles, Rubinstein, DiJhlcr, 
 Thalberg and Liszt and, of course, has much to say of all these great 
 masters. There are some twenty-five illustrations, including Patti, Jenny 
 Lind, Liszt, Charles Halle, Gottsehalk, Von Bulow and .Mr. Hoffman him- 
 self. The volume also contains Mr. Hoffman's essay on " How to Stimu- 
 late Thought and Imagination in a Pupil." 
 
 MOZART: THE STORY OF HIS LIFE AS MAN AND 
 ARTIST. According to Authentic Documents and 
 other Sources. By Victor Wilder. Translated by F. 
 Liebich. To which is now added a Comprehensive Bib- 
 liography of Mozart Literature from every source, 
 English and Foreign and a List of his Compositions 
 Published and Unpublished. With 23 Portraits 
 gathered from Various Sources. With Index. 2 
 volumes. Crown 8vo, cloth, 10s. 
 
 Jan. Ev. Engel, Imperial Librarian, writing from the Mozarteum, Salz 
 burg (Mozart's birthplace) on behalf of the Mozart Society, says: — 
 
 [Translation.] 
 
 I congratulate the publisher on the exemplary correctness of the edi- 
 tion and the author ou having had at his disposal such rich and almost 
 inexhaustible material from ancient down to most modern times, as 
 foundation for his excellent work. This beautiful and valuable work, 
 which has been translated with great thoroughness, has every right to a 
 place in the foremost ranks of English literature to the honour of the 
 great master whose life and work the gifted author has had presented to 
 the English people in a most attractive way, besides conveying to them 
 his appreciation of his (Mozart's) immortal compositions in a manner 
 that has not been done previously in English. 
 
 " This biography in two handy volumes and published at a moderate 
 price, will, we are sure, be warmly welcomed by the thousand and one 
 admirers of one of the most astounding geniuses in musical history." — 
 Pall Mall Gazette. 
 
 " Its merits are its enthusiasm, its judicious selection from an enor 
 mous mass of material, and its consecutiveness." — Birmingham Gazette. 
 
 Arthur Simons, in an appreciative notice in The Saturday Review 
 said : — " The book is living, and to read it is to suffer over again this 
 
 perfect and punished life." g
 
 BIOGRAPHICAL. 11 
 
 MUSICAL MEMORIES. By William Spark, Mus.Doc. 
 (late Organist of the Town II all, Leeds). Revised 
 Popular Edition. With 16 Portraits. Thick crown 8vo, 
 cloth. Published at 6s. 
 
 " A pleasantly written book of reminiscences of a large number of 
 distinguished persons in the world of music .... Dr. Spark knows how 
 to tell a good story, and has not a few new and old to tell ; while the 
 tone of his book is so invariably cheerful and good natured." — Saturday 
 Review. 
 
 " The author speaks of things that he understands and of persons 
 that he has known." — St. James' Gazette. 
 
 " Just one of those pleasant books which are instructive without being 
 tedious, and amusing without being frivolous. The book is very pleasant 
 reading and we counsel our readers to get it without delay." — Musical 
 Standard. 
 
 TCHAIKOVSKY. His Life and Works. With Extracts 
 from his Writings and the Diary of his Tour Abroad in 
 1888. By Rosa Newmarch. Edited with Additional 
 Chapters by E. Evans, 1908. With a Complete 
 Classific Account of Works, Copious Analyses of Import- 
 ant Works, Analytical and other Indices ; also Supple- 
 ment dealing with "The Relation of Tchaikovsky to 
 Art-Questions of the Day." Portrait and Index. 
 Thick crown 8vo, cloth, gilt top, 7s. 6d. 
 
 " The chapters written by Mr. Edwin Evans, Scnr., are excellent and 
 should be perused with attention, as they denote a keen, critical insight 
 and a broad outlook on matters generally. * * * The popularity of Tchai- 
 kovsky in England is certainly not on the wane, and the present volume 
 will doubtless be welcomed by the many admirers of the Russian master." 
 — Morning Post. 
 
 " A well planned and in parts fascinating 6tudy of a composer whose 
 rare charm of melodic beauty and fine sense of musical proportion have 
 completely captured the taste of the time * * * It is the fullest and 
 most authoritative monograph of Tchaikovsky available for EDglish 
 readers."— The Scotsman. 
 
 " Issued from the Press which in recent years has given to the musical 
 world so much that is of intrinsic value — that of the firm of William 
 Reeves, publisher of The Musical Standard — this volume, dedicated ' to 
 Henry J. Wood, who has helped to realise so many of Tchaikoveky's 
 masterpieces, and to his wife,' is first in the field in thoroughness and 
 in style. * * * is so presented as to bo of absorbing interest to the or 
 dinary lover of music, of value to the student, and indispensable to such 
 as desire to have at hand reliable analyses of the compositions of the 
 greatest of Russian composers. Rosa Newmarch is perhaps responsible 
 to a greater degree than anyone in this country for bringing under notice 
 Tchaikovsky. To her pen is due the best and ripest of the original 
 matter the volume contains; although the work of Mr. Edwin Evans is 
 also of such a character as to merit high praise. ' • * Tchaikovsky was 
 a world artist and he speaks in a language that is growingly appreciated 
 by the scholars of all nations. • * The volume will assuredly rank amone 
 the standard works relating to musical art."— Sheffield Daily Independent.
 
 12 BIOGRAPHICAL. 
 
 NOTICE OF ANTHONY STRADIVARI. The celebrated 
 Violin Maker known by the name of Stradivarius, pre- 
 ceded by Historical and Critical Researches on the 
 origin and Transformations of Bow Instruments, and 
 followed by a Theoretical Analysis of the Bow and Re- 
 marks on Francis Tourte. By F. J. Fetis. Trans- 
 lated by J. Bishop. Facsimile of a Letter of Stradi- 
 varius. 8vo, cloth, os. 
 The greater part of the matter in above is the work of M. Tuillaume, 
 who spent the greater part of his life in studying the principles which 
 guided Stradivarius in his labours. With the aid of Fetis and his addi- 
 tional suggestions and matter the now celebrated work was produced. 
 
 CHOPIN: THE MAN AND HIS MUSIC. By James 
 Huneker. Author of "Mezzotints in Modern Music." 
 With Musical Examples. Thick crown 8vo, cloth, 10s. 
 
 " Mr. Huneker is a Chopin enthusiast. He accords admiration to BrahmG, 
 to Wagner, to Tchaikovsky : his worship is reserved for Chopin. Being 
 gifted with clear insight and imagination which grasp many and diverse 
 moods Mr. Huneker is a sane critic and a manly There is no pre- 
 tence at new materia! in the book. Mr. Huneker has garnered all that has 
 been written about the composer and he has threshed out the grain from 
 the chaff. The result is, therefore, of value."— Musical Standard. 
 
 " The volume will at once take its place in the front rank of books on 
 
 Chopin the masterly chapter of 74 pages on the etudes will soon 
 
 l>e found indispensable by all teachers and students of the pianoforte." — 
 The Nation (U.S.A.) 
 
 " A work of unique merit, of distinguished style, of profound insight 
 and sympathy and of the most brilliant literary quality." — The New York 
 Times. 
 
 " Of works on Chopin published since Nieoks' life, this is by far the 
 most important."— O. C. Askton Jos-son in " A Handbook to Chopin's 
 Works." 
 
 LIFE OF CHOPIN. By Franz Liszt. New and very much 
 Enlarged Edition. Translated in full now for the first 
 time by John Broadhouse. Crown 8vo, cloth, 6s. 
 
 Gkoboe Sand describes it as " un peu exubcrent en style, mais reinplf 
 de bonnes choses et dc tres belles pages." 
 
 G. C. Asuto.v Joxson says in his " Handbook to Chopin's Works " : — 
 " For the personal reminiscences of one of the greatest composers by one 
 of the greatest executive artists of the world must be invaluable to the 
 Chopin student." 
 
 " Franz Liszt has written a charming sketch of Chopin's life and art."— 
 Eney. Brit. 
 
 " Liszt's criticisms upon his separate works have all the eloquent mys 
 ticisms to be expected from him ; and the biography is a book musicians 
 will always prize." — Sunday Times. 
 
 " It will afford the student the greatest help in understanding the 
 undercurrent of emotion which characterises the works of Chopin." — 
 Morning Post 
 
 " Let us therefore contribute one good word to help it forward, as we 
 would tend a flower which springs up spontaneously over the grave of 
 one we love."— Musical Times.
 
 BIOGRAPHICAL. 13 
 
 FREDERIC CHOPIN: HIS LIFE AND LETTERS. By 
 
 Moritz Karasowski. Translated by E. Hill. New 
 Edition Revised and further Letters added written 
 during tlie composer's Sojourn in England and Scot- 
 land, 1848-9. Second and Revised Edition. With 8 
 Portraits and a Facsimile. 2 volumes. Crown 8vo, 
 bevelled cloth. 10s. 
 
 " Chopin is and remains the boldest and proudest poetic spirit of the 
 age."— itOBKBT Schumann. 
 
 " A book with which all students of Chopin must needs be acquainted. 
 It contains a good deal of first hand information and is our only eource 
 for many valuable documents." — The Guardian. 
 
 wtoyrs Dictionary of Musicians says : — The truth about Chopin's 'birth, 
 family, health, character, friendships, early training-, and the dawn of his 
 career as a player and composer was not known until the publication of 
 Moritz Karasowski's recent and trustworthy biography. 
 
 " The first serious attempt at a Biography of Chopin."— Peof. Niecks. 
 
 " Gives bits of information found nowhere else and the Letters of Chopin 
 make the book invaluable to those who would really know the Polish 
 master."— 31 luteal America. 
 
 MAKERS OF MUSIC. Biographical Sketches of the Great 
 Composers. With Chronological Summaries of their 
 Works and Facsimiles from Musical MSS. of Bach, 
 Handel, Pureed, Dr. Arne, Gluck, Haydn, Mozart, Beet- 
 hoven, Weber, Schubert, Berlioz, Mendelssohn, Chopin, 
 Schumann, Wagner, Verdi, Gounod, Brahms and Greig, 
 with General Chronological Table. By R. Farqcharson 
 Sharp. Portrait of Pureed. Third Edition. Crown 
 8vo, cloth, 5s. 
 
 The author's endeavour throughout this work has been to convey an im- 
 pression of the personality of each composer, as well as to furnish bio- 
 graphical detail. At the end of each biography is a tabulated list of the 
 composer's works and dates of production, together with a facsimile from 
 one of his original manuscripts. A useful volume, got up in good style and 
 well adapted for a gift or prize. Has speedily run into three editions. 
 
 TEMPLETON AND MALIBRAN. Reminiscences of these 
 Renowned Singers, with Original Letters and Anec- 
 dotes. Three Authentic Portraits by Mayall. 8vo, 
 cloth, 2s. 6d. 
 
 VERDI: MAN AND MUSICIAN. His Biography, with 
 especial Reference to his English Experience. Por- 
 traits by F. J. Crowest. 8vo, cloth, 3s. 6d. net (pub. 
 7s. 6d.) 
 
 BALFE: HIS LIFE AND WORKS. By W. A. Barrett. 
 Crown 8vo, bevelled cloth, 3s. 6d. net (pub. 7s. 6d.)
 
 14 BIOGRAPHICAL. 
 
 CHOPIN: AS REVEALED BY EXTRACTS FROM HIS 
 DIARY. By Count Tarnowski. Translated from the 
 Polish by N. Janotha. With Eight Portraits. (Jrowu 
 Svo, cloth, 2s. 6d. net (or paper cover, Is. 6d. net). 
 
 " Throws many curious sidelights on the character of the great com 
 poser."— Sunday Sun. 
 
 " The notes on Chopin were written by special request and under the 
 direction of Princess Marceline Czartoryska. From her, Count Tarnowski 
 received many interesting details as well as letters written by Chopin, in 
 which the master alludes to many of his compositions as well as to the 
 conditions under which they were written. Really an absorbing little 
 tome, etc." — Musical Standard. 
 
 BEETHOVEN. By Richard Wagner. With a Supplement 
 from the Philosophical Works of Arthur Schopenhauer. 
 Trans, by Edward Dannreuther. Third Edition. 
 Crown 8vo, cloth, 6s. 
 
 " This characteristic essay, a written exposition of Wagner's thoughts on 
 the significance of the master's music, may be read with advantage by all 
 students." — W. H. Webbe in The Pianist'* A. B. C. 
 
 " It is a plain duty to be familiar and even intimate with the opinion 
 of one famous man about another. Gladly therefore we welcome Mr. 
 Dannreuther's translation of the work before us. Mr. Dannreuther has 
 achieved his task with the conscientiousness of his nature and with a 
 success due to much tact and Datience." — Musical Times. 
 
 BIOGRAPHICAL DICTIONARY OF FIDDLERS. Includ- 
 ing Performers on the Violoncello and Double Bass, 
 Past and Present. Containing a Sketch of their 
 Artistic Career, together with Notes of their Composi- 
 tions. By A. Mason Clarke. 9 Portraits. Post 8vo, 
 bevelled cloth, 5s. 
 
 " We may here take the opportunity of recommending a useful book to 
 all lovers of violins and violinists. Fiddlers, Ancient and Modern, is prac- 
 tically a little Biographical Dictionary, well arranged with some excellent 
 portraits." — Northern Whiff. 
 
 CHERUBINI. Memorials illustrative of his Life. By E. 
 Bellasis. Thick crown 8vo, cloth, 6s. 
 The standard biography of Cherubini. 
 
 FRANZ LISZT. By T. Carlaw Martin. 12mo, bound, Is. 
 
 LIFE OF BEETHOVEN. By Louis Nohl. Translated by 
 John J. Lalor. Third Edition. With Portraits and 
 Facsimile. Crown Svo, bevelled cloth, gilt edges, 3s. 6d. 
 " A standard biography."
 
 BIOGRAPHICAL. 15 
 
 SKETCHES OF ENGLISH GLEE COMPOSERS. Historical, 
 Biographical and Critical. From about 1735-1866. By 
 D. Baptie. Post 8vo, bevelled cloth, os. 
 
 LIFE AND WORKS OF MOZART. By A. AVhittingham 
 Cloth, Is. 6d. (or paper, Is.) 
 
 LIFE AND WORKS OF HANDEL. By A. Whittingham. 
 Cloth, Is. 6d. (or paper, Is.) 
 
 THE BACH LETTERS. Letters of Samuel Wesley, relating 
 to the Introduction into England of the Works of Bach. 
 Ed. by E. Wesley. Second Edition. 8vo, cloth, 2s. 6d. 
 
 DICTIONARY OF 4.000 BRITISH MUSICIANS. From the 
 Earliest Times. By F. J. Crowest. Crown 8vo, cloth, 
 
 2s. (paper, Is.) 
 
 A Dictionary of British Musicians — a work devoted exclusively to the 
 names of native composers, instrumentalists, vocalists, writers, etc., who 
 have contributed to the making of English musical art from the earliest 
 times to the present. Blank spaces are left to each letter for any. addi- 
 tional names to be written in. 
 
 I'URCELL. By William H. Cummings, Mus.Doc. Crown 
 8vo, cloth, 2s. 6d. 
 
 The only available life of this great English musician. Dr. Cummings 
 spared no time or tiouble in making it as far as possible a complete and 
 exhaustive treatise. 
 
 CHERUBINI. By F. J. Crowest. Crown 8vo, cloth, 2s. 6d. 
 
 Contents :— Birth and Parentage— Under Sarti— Earliest Works— Visits 
 London — Lodoiska — Medee — Les Deux Journers — Faniska — Berlioz and Ah 
 Baba— Cherubini's Overtures— A Sacred ilusic Composer— Mass in F— 
 Mass in D minor — Mass in C — Requiem in C minor— Requiem in D minor 
 —Cherubini's Prolificness— At Catel's Grave— Death, Obsequies and Career 
 —His Influence upon Jiusic— Estimate of his Dramatic Works— Of his 
 Sacred Works — Influence as a Teacher — Temperament and Disposition- 
 Anecdotes of Cherubini — Catalogue of Compositions — Index. 
 
 SKETCHES OF GREAT VIOLINISTS AND GREAT PIAN- 
 ISTS. Biographical and Anecdotal, with Account of 
 the Violin and Early Violinists. Viotti, Spohr, Paga- 
 nini, De Beriot, Ole Bull, Clementi, Moscheles, Schu- 
 mann (Robert and Clara), Chopin, Thalberg, Gottschalk, 
 Liszt. By G. T. Ferris. Second Edition. Crown 8vo, 
 bevelled cloth, 3s. 6d. (or cloth, gilt edges, 4s. 6d.) 
 A very useful book for a prize or gift.
 
 PORTRAIT GALLERIES. 
 
 SIXTY YEARS OF MUSIC. A Record of the Art in England 
 during the Victorian Era. Containing 70 Portraits of 
 the most Eminent Musicians. Oblong quarto, boards, 
 cloth back, 2s. 6d, 
 
 NATIONAL PORTRAIT GALLERY OF BRITISH MUSI- 
 CIANS. By John Warriner, Mus.D. Trinity College, 
 Dublin. Introduction by Joset-h Bennett. Over 500 
 Photo Portraits of well-known and eminent living Musi- 
 , cians of Great Britain and Ireland, with short Bio- 
 graphical notice of each. The whole bound in one 
 handsome oblong folio volume, cloth lettered. Offered 
 for 7s. 6d. net (published 14s. net). 
 
 REEVES' CATALOGUE OF MUSIC AND MUSICAL 
 LITERATURE. Ancient and Modern, Second-Hand 
 and New; containing the Contents of Libraries recently 
 purchased, with a large quantity of Curious, Scarce, and 
 Useful Music : Full Scores, Organ Music, Duets, Trias, 
 Quartetts, Quintetts, Sextetts, Septetts, etc. ; Tutors, 
 Historical, Theoretical and Biographical Works in Eng- 
 lish, French, German, Italian, Spanish, Dutch, etc.. 
 including some Works of the greatest rarity and value. 
 On Sole for Cash. This Catalogue sent post free on 
 application.
 
 HISTORY. 
 
 THE MUSIC OF THE MOST ANCIENT NATIONS. Par- 
 ticularly of the Assyrians, Egyptians and Hebrews; 
 with special reference to recent discoveries in Western 
 Asia and in Egypt. By Ca*l Engel. With numerous 
 Illustrations and Index. Thick 8vo, cloth. Published 
 at 18s., now offered for 8s. 6d. net. 
 Contends :— Chapter I.— The Oldest Records' on Music. Representations 
 of Musical Instruments on Ancient Sculptures and Paintings— National 
 Music applied to Ethnology— Monumental Records referring to Assyrian 
 Music— The Ruins of Nimroud, Khorsabad and Kouyunjik— The Extent 
 to which the characteristics of Assyrian Music can be Ascertained from 
 the Representations nf the Instruments— The Gradual Development of 
 Music from its Most Primitive State, demonstrated by a Comparison of 
 the Music of Modern Nations in Different Stages of Civilization— The 
 Earliest Musical Instruments— Examples of Musical Scales in Use among 
 Nations in Different Stages of Civilization— The Earliest Development of 
 Vocal Music — The Degree of Progress in Music attained by the Assyrians 
 — Their Accomplishments in other Arts. Chapter II.— Musical Instru- 
 ments of the Assyrians. The Harp— Traces of the Ancient Oriental Harp 
 in Europe — The Assyrian Lyre and the Nubian Kissar— The Assyrian 
 Dulcimer and the Persian Santir— The Asor— The Tamboura or Guitar— 
 The Double-pipe— The Trumpet— The Drum- Assyrian Bronze Bells found 
 in the Ruins of Nimroud— Tambourine and Cymbals — Remarks on the 
 Dancing of the Assyrian Musicians — Traces of some other Assyrian In- 
 struments — Conjectures on the Antiquity of Stringed Instruments Played 
 with a Bow — Some Peculiar Similarities between Ancient Asiatic and 
 European Instruments — The Names of Musical Instruments. Chapter III. 
 —Assyrian Musical Performances. Various Combinations of Musical In- 
 struments—Description of the Assyrian Bas-reliefs in the British Museum 
 on which Musical Performers are Represented — Other Representations of 
 Assyrian Musicians briefly Described — The Characteristics of the Per- 
 formances — Fondness of the Assyrians for Music — Their Songs — Musio 
 employed in their Religious Worship— Court Bands of the Kings- 
 Rhythmical Character of the Music — Oriental Music of the Present Time — 
 Choruses of the Dervishes — Call to Prayer of the Muezzin — Character of 
 the Assyrian Instrumental Accompaniments — Harmony not Entirely 
 l"n known to the Assyrians. Chapter IV. — Musical System of the 
 Assyrians. Resemblance of the Assyrian Music to that of other Ancient 
 Oriental Nations — The Pentatonic Scale — The Present Existence of the 
 Pentatonic Scale in various Asiatic Nations evidenced by Tunes from 
 China, Siam, Java, Hindoostan, Burmah and Japan — High Antiquity of 
 the Pentatonie Scale in Asia — The Order of Intervals in which the 
 Assyrian Stringed Instruments appear to have been usually Tuned — Traces 
 of the Pentatonic Scale among the Ancient Greeks — The Intervals of the 
 Nubian Kissar — Subdivisions of the Whole Tone — Diffusion of the Penta- 
 tonic Scale— The Pentatonic Scale of the Ancient American Indians — 
 Traces of the same Scale in the Music of the Scotch and other Celtic liaccs 
 — The Peculiar Character of the Assyrian Music — The Probable Musical 
 Notation of the Assyrians. Chapter V. — Music of the Ancient Egyptians 
 Egyptian Instruments — Various Harps — Bruce's Harps — Egyptian name of 
 the Harp — The Trigonon — The Lyre — The Tamboura — Peculiar Stringed 
 Instruments — Pipes, Flutes, Double-pipes — Trumpets — Drums and Tam- 
 
 2
 
 18 HISTORY. 
 
 bourines— Curious Instruments of Percussion— The S 1st rum— Crotala, Cym- 
 bals, Bells— Vocal and Instrumental Performances— The Egyptian Musical 
 Instruments compared with the Assyrian— Opinions of some Musical His- 
 torians. Chapter VI.— Music of the Hebeews. Gradual Development of 
 the Hebrew Music— Musical Instruments— Diversity of Opinion respecting 
 the Real Nature of some of the Hebrew Instruments— Josephus' Account— 
 The Chatzozerah-The Shophar— The Magrepha— Nebel and Nofre— The 
 Hebrew Lyre— Vocal and Instrumental Performances— Hebrew Music of the 
 Present Day— Literature of Hebrew Music— Eastern Origin of our own Music. 
 
 Grove's Dictionary says of Carl Engel : 
 
 " His attainments as a musician, his clear insight into books in many 
 languages, his indefatigable perseverance in research, and the exercise of 
 a rare power of judicious discrimination, made him one of the first 
 authorities on his subject in Europe, he became a collector when oppor- 
 tunities were more frequent than they are now for acquiring rare instru- 
 ments and books. He thus formed a private museum and library that 
 could hardly be rivalled except by a few public institutions." 
 
 CHRONOMFTRICAL CHART OF MUSICAL HISTORY. 
 
 Presenting a Bird's Eye View from the Pre-Christian 
 Era to the XXth Century. By C. A. Harris, 
 A. It. CO., etc. On linen, folded in case, 2s. net (on 
 special paper, Is. net). 
 
 Prof. Pkout says :— I have examined your chart with great interest, 
 both plan and execution seem to me to be excellent. You have managed 
 to get a wonderful amount of information into a very small space. I 
 think the Chart should be most useful and cordially wish you success. 
 
 De. T. H. Yorke Trotter, Principal, London Academy of Music: "Ex- 
 tremely well got up and will be useful." 
 
 Dr. F. J. Earn, Principal, London College of Music: "Tour very useful 
 chart .... extremely well drawn up, showing in a compact form a great 
 deal of information, and is a useful comparative form. Several professors 
 have expressed delight with it." 
 
 Trinity College, London: "The Library Committee desire me to express 
 their most cordial thanks for the donation of a copy of a * Chronometrical 
 (hart of Musical History' to the College library."— Shelley Fisher, 
 Secretary. 
 
 " Lrke a Bovril tabloid— much nourishment in a little room."— Head 
 Mistress, South African School. 
 
 " Sure to be very useful to students . . . excellently arranged and 
 seems to be very accurate and thorough."— Dr. Ralph Dunstan. 
 
 " Excellent chart . . . and is certainly valuable in helping the imagina- 
 tion to grasp synchronous events."— H. Osmond Anderton, Esq., Librarian 
 to Birmingham and Midland Institute School of Music. 
 
 CATECHISM OF MUSICAL HISTORY AND BIOGRAPHY, 
 
 By F. J. Crowest. Revised and Enlarged Edition. 
 Tenth Thousand. 187 pp. Post 8vo, cloth, 2s. (paper, Is.) 
 This work gives special attention to English musicians, and is brought 
 down to 1905. 
 
 Musical Education says:— "An excellent little book— yet not so little 
 since it contains an immense amount of information— historical, biographi- 
 cal and critical — in a very small compass."
 
 HISTOBY. 19 
 
 THE GROWTH AND DEVELOPMENT OF MUSlL. 
 
 Described in Chapters on the Study of Musical History. 
 By Edward Dickinson. With an Annotated Guide to 
 Music Literature. Over 400 pp. Thick 8vo, cloth, 10s. 
 
 Chapters: — 1. Primitive Music. 2. .Music of the Ancient Cultured 
 Nations: Assyrians, Egyptians, Hebrews, Greek3 and Romans. 3. Song in 
 the Early Christian Church. 4. The Catholic Liturgy. 5. The Catholic 
 Liturgic Chant. 6. Beginnings of Polyphonic Music. Popular Music in the 
 Middle Ages. 7. The Age of the Netherlanders, 1400 1550. 8. Choral Music 
 of the Sixteenth Century. 9. Early German Protestant Music. 10. Pro- 
 testant Church Music in England. 11. The Madrigal— The Opera — Modern 
 Tonality. 12. Early Growth of Instrumental Music. 13. The Violin and 
 its Music : First Stages of the Suite and Sonata. 14. Keyed Chamber In- 
 struments : Progress of the Clavier Suite and Sonata. 15. The Italian Opera 
 in the Seventeenth Century. 16 The Opera Buffa, Seventeenth and Eigh- 
 teenth Centuries. 17. Rise of the Opera in France, Seventeenth Century. 
 18. Italian Opera Sena in the Eighteenth Century. 19. Introduction of 
 the Italian Dramatic Forms into German Religious Music. 20. Johann 
 Sebastian Bach, 1685 1750. 21. Handel, 1G85-1759. 22. Opera-Comique in' the 
 Eighteenth Century. 23. Gluek. 1714-1787. 24. Haydn, 1732-1809. 25. Mozart. 
 1756-1791. 26 Beethoven 1770 1827. 27. The German Romantic Opera. 
 Weber, 1786 1826. 28. The German Lied. Schubert, 1797-1828. 29. .Piano 
 Playing to about 1830. 30. Schumann. 1810 1856. 31. Mendelssohn. 1809- 
 1847". 32. Chopin, 1809-1849. 33. Programme Music. 34. Berlioz, 1803-1869. 
 35. Liszt, 1811-1886. 36. The Opera in the Nineteenth Century to about 
 1850. I. Italian Opera. 37. The Opera in the Nineteenth Century to about 
 1850. II. French Opera. 38. Wagner, 1813-1883. 39. Recent Music in Ger- 
 many and Austria. 40. Recent Music in France. 41. Recent Music in 
 Italy. 42. Recent Music in Russia. Bohemia and Scandinavia. 43. Recent 
 Music in England and America. Bibliographical List. Index. 
 
 Mr. Dickinson in his Preface says : — The vastncss and complexity of the 
 study of the history of music are bewildering to those who enter upon it 
 unassisted. This volume is intended to clear the way by indicating the 
 problems, the method and the materials. The narrative and critical por- 
 tion gives a terse and comprehensive summary of music history, showing 
 what are the important subjects involved and their connections and rela- 
 tions. The bibliographical sections lead the student to the best critical 
 commentaries in the English language on every phase and detail of the 
 eubject. 
 
 " Mr. Dickinson has written a book of unquestionable value the 
 
 author's critical judgment is highly discriminating." — Musical Standard. 
 
 Mr. Ernest Newman in the Manchester Guardian writes : — Mr. Dickinson 
 has had the excellent idea of furnishing the musical student with a guide 
 
 to the best literature in English upon the Art For Mr. Dickinson's 
 
 general treatment of his subject one can have nothing' but praise. Hie 
 method is to take each stage in the development of music separately, 
 characterise it in a short but highly concentrated chapter and then give 
 references to the complete English literature upon the subject. His sum 
 maries are models of sound judgment and swift statement, not more thai> 
 once or twice, perhaps, could one find fault with either their completenes* 
 in every essential point or their cool and Catholic impartiality. The 
 
 bibliographical guides are practically as full as they could be made 
 
 the total omissions are exceedingly trifling, while the extent and the 
 accuracy of the information conveyed make the book ind'spensable to 
 ttudents and to public libraries.
 
 20 HISTORY. 
 
 MANUAL OF MUSICAL HISTORY. From the Epoch of 
 Ancient Greece to our present time. By Dr. F. L. 
 Ritter. Second Edition. Cr. 8vo, bevelled cloth, 2s. 6d. 
 
 " An agreeably and cogently written volume, dealing with a variety of 
 topies which bear mo e or less directly on the history of music." — W. H. 
 Webbh in The Pianist's A. B. C 
 
 " Portable and well arranged * * * well up to date and contains a useful 
 index. Students preparing for examinations will find the book distinctly 
 serviceable." — Teacher's Times. 
 
 THE STUDENT'S HISTORY OF MUSIC. History of Music, 
 from the Christian Era to the present time. By Dr. F. 
 L. Ritter. Third Edition. 478 pages of Letterpress 
 and 72 Plates of Musical Illustrations. Thick crown 
 8vo, cloth, 7s. 6d. 
 
 " To such as are preparing for examination this valuable work must 
 render great service." — Christian Age. 
 
 " A reliable guide to those students who as he says ' feel the desire, the 
 want, of a deeper and more general knowledge of and information as to, 
 the growth and progress of their art than is common.' That this intention 
 has been successfully carried out in the present volume we can conscien- 
 tiously affirm. " — Musical Times. 
 
 " With the exception of Mr. Hullah's Lectures, we can recall no book 
 in the English language of recent date which attempts to cover the same 
 ground. Both as useful to the student as a work of reference, and as 
 interesting and instructive to the general reader on musical subjects, this 
 work of Professor Ritter may confidently be recommended." — Monthly 
 Musical Record. 
 
 A HISTORY OF PIANOFORTE MUSIC. With Critical 
 Estimates of its Greatest Masters and Sketches of their 
 Lives. By John C. Fillmore. Edited with an Intro- 
 ductory Preface by Ridley Prentice. Crown 8vo, 
 cloth, 3s. 6d. 
 
 Synopsis: — The Pianoforte and its Immediate Precursors (the Harpsi- 
 chord and Clavichord) — Polyphonic Music (Bach, Handel, D. Scarlatti) — 
 Homophonic Music (E. Bach, Haydn, Mozart) — The Emotional Content of 
 Music (Beethoven) — The Classic and the Romantic in Music (Weber, Schu- 
 bert, Mendelssohn, Chopin and Schumann) — Technique of the First Clas- 
 sical Period — Technique of the Second Classical Period — Technique of the 
 Transition Period — Technique of the Romantic Period — Minor Conuposers 
 and Virtuosi of the Different Epochs — Index. 
 
 Dudlei Buck says of it : — " In my judgment the work should be in tho 
 hands of every earnest student." 
 
 " The only work of its kind in English. It groups the composers and 
 their works into epochs and gives a clear description of the different 
 epochs. It contains an interesting account of the lives of all the greatest 
 composers and their works." — Etude. 
 
 HISTORY OF HUNGARIAN MUSIC. By J. Kaldy {Director 
 of the Royal Hungarian Opera). Crown 8vo, bevelled 
 cloth, 2s. 6d. net. 
 
 " Information not to be had anywhere else .... should be on every 
 musical shelf." — Intcrnationalen Musikgesellschaft.
 
 EISTOBY. 21 
 
 THE RISE OF MUSIC. Being a Careful Enquiry into the 
 Development of the Art from its Primitive Puttings 
 forth in Egypt and Assyria to its Triumphant Consum- 
 mation in Modern Effect. Especially bringing out the 
 Influence of the Church upon the Joint Development of 
 Harmony and Notation — the Importance of that Great 
 Central Development the Enweavement of the Scales — 
 the Creative Consequences of the Clavier Type of In- 
 strument and the Explanation of a New and Perfect 
 Order of Beauty resting upon our Tempered System. 
 By JosEr-H Goddard. With Illustrations of early In- 
 struments and numerous Musical Examples drawn from 
 Ancient and Modern Sources. With Index. Thick 
 crown 8vo, cloth, gilt top, 7s. 6d. 
 
 It will be seen that tin's work is not a history of music in the ordinary 
 sense, but rather a tracing of the organic unfolding of the musical art. 
 At the same time it presents a perspective of both the history and con- 
 stitution of music, in which history is seen to elucidate theory and theory 
 history. 
 
 Readers will greatly appreciate the numerous musical examples culled 
 from all sources which appear throughout the book. 
 
 " Musical enthusiasts, whom the technical language of their art does 
 not appal, will delight in this scholarly book. Mr. Goddard's object is 
 to show that music, commonly regarded as the youngest of the arts, had 
 its roots in primeval man, but needed a longer time to develop into a 
 fully constituted art than did painting and literature. It was compara- 
 tively easy for the painter to perfect his art. He had his model, Nature, 
 always before him. The poet, in like manner, once he possessed an alpha- 
 bet, had only to look around him to find the grandest subjects ready to 
 his pen. But the musician had to discover and fix his own rules and 
 principles, slowly revealed to him by the march of science and by chance 
 inventions. The ancient Egyptians, for instance, used the flute, lyre and 
 harp, but, as Mr. Goddard points out, the mass of our modern musical 
 forms date only from the invention of the clavier type of instrument, a 
 little over a couple of centuries ago. Modern dramatic music, too, springs 
 as an art form largely from the light interludes played in the Italian 
 theatres only two centuries ago. Mr. Goddard's book is well illustrated 
 and should find a place in many a musical home." — The Christian World. 
 
 AN ACCOUNT OF THE RISE OF MILITARY MUSIC IN 
 ENGLAND. Being Memoirs of the Royal Artillery Band, 
 its Origin, History and Progress. By H. G. Farmer. 
 With 14 Illustrations. 8vo, cloth, 5s. 
 
 The Records of the R.A. Band date as far back as 17G2, and its history 
 may fairly be stated to represent the growth of the military band.
 
 22 HISTORY. 
 
 THi: WORLD'S EARLIEST MUSIC. Traced to its Begin- 
 nings in Ancient lands. By collected Evidences of 
 Relics, Records, History and Musical Instruments, from 
 Greece, Etruria, Egypt, China, through Assyria and 
 Babylonia to the Primitive Home, the Land of Akkad 
 and Sumer. By Hermann Smith. With 65 full page 
 Illustrations and Cuts, nearly 400 pp. Crown 8vo, 
 cloth, 6s. 
 
 " I return the sheets you entrusted to me of ' The World's Earliest 
 Music' There is nothing I could criticize in those interesting pages." — 
 A. J. Hipkins in a letter to the Author. 
 
 " Should be in the hands of every musician Most interesting is 
 
 ftis Chapter upon the music of Japan."— Pad Mall Gazette. 
 
 " Technically though it occasionally must be, the book is one which 
 should charm all music lovers." — Morning Leader. 
 
 " The book, which is profusely illustrated, is most interesting, and is, in 
 its handsome cloth binding, well worth its published price, 6/-" — The 
 Musical Star. 
 
 " I confess to a very considerable ignorance, natural and acquired, of 
 the ancient instruments ; but it seems to me that Mr. Smith has got as near 
 the truth as a twentieth century mortal can."— J. F. Ruxciman in The 
 Saturday Review. 
 
 " It is a pleasantly written volume dealing with the earliest conditions 
 of music in ancient lands. From rock carvings, wall paintings, tablets 
 and vases, sculptures, papyri and so forth, Mr. Smith has drawn the 
 materials for a volume which has involved an immense amount of research 
 and contains a vast quantity of information conveyed in a very lucid and 
 readable manner." — H. A. Scott in The Academy. 
 
 " No more enthusiastic worker, nor patient student, exists than Mr 
 Hermann Smith. The structure, character and capabilities of every kind 
 of musical instrument have been the objects of his study for many years. 
 To an intense love of his subjects he adds an attractive style. . . . Tho 
 liking of the ear in music i3 a liking by inheritance, transmitted as a 
 fa iai type is. This view is new, etc." — Birmingham Daily Post. 
 
 THE PAST AND THE FUTURE. An Inaugural Lecture at 
 Gresham College. By J. Frederick Bridge, Mas. Dor. 
 Crown fivo, sewed, fid.
 
 ORCHESTRAL. 
 
 A Woik of Original Research and Study. 
 THE INSTRUMENTS OF THE MODERN ORCHESTRA 
 AND EARLY RECORDS OF THE PRECURSORS OF 
 THE VIOLIN FAMILY. With 500 Illustrations and 
 Plates. Ey Kathleen Schlesinger. Two handsome 
 volumes, thick 8vo, cloth, gilt tops, 18s. 6d. 
 
 A reviewer in a long notice in the Times says : 
 
 " We do not hesitate to recommend the volume to all lovers of music 
 who would know something of the instruments which produce the mar- 
 vellous tone colour of the modern orchestra, or desire, by aid of the large 
 and clear illustrations, to recognise the various forms which are now to be 
 found in our large military and municipal bands. It is in the second 
 volume that the importance of Miss Schlesinger's work appears and the 
 results o p original research are evident .... a new light is here thrown 
 on the early history of the violin family, and in any future work on this 
 subject account will have to be taken of the research disclosed in this 
 volume The index to the two volumes is carefully and lucidly com- 
 piled; but the most noteworthy section in this respect is the bibliography. 
 It occupies a hundred paces and is the finest work of its kind since ' r>e 
 Fidiculis Bibliographia ' and will bo found of great value to all musicians. 
 
 . . . Miss Schlesinger's volumes are full of interesting and useful in- 
 formation, ar.d in the domain of archaeology and musical history suggest 
 new possibilities." 
 
 Jon\ EROADHorsK in the Musical Standard writes: "Far surpasses any 
 hook on the subject which it lias been our good fortune to read. The 
 whole line of the investigation is in every sense of the word original ; not 
 trusting the researches of her predecessors, Miss Schlesinger has. during 
 many years, gone fully and deeply into the matter for herself; and. 
 having arrived at conclusions quite at variance with those of other 
 writers, she is not afraid to say so. The tone of the book is moderation 
 
 itself It may be ■ safely assumed— and the assumption will stand 
 
 a-ood until some further eviden • is di covered— that our authoress has 
 
 proved herself to lie right and the others wrong The volumes are 
 
 beautifully printed in large and clear type, on excellent paper, and are 
 alike a credit to printer and publisher." 
 
 The music critic of the American Musical Courier in an able essay says : 
 " It is a great work in two volumes with over five hundred illustrations 
 
 and plates She [the author] is a kind of musical Darwin who has 
 
 given no end of toil and trouble to trace flie ancestors of our instruments 
 into their humble and remote sources." 
 
 " It is no mere echo of other historians but a work of original research. 
 Th is is made clear by the fad thai novel ((inclusions arc readied and 
 new verdicts given. It would seem that we shall be compelled to rccon- 
 sidi i and probably to reconstruct our notions as to the origin of the 
 
 violin \ splendid bi ik which will become a classic. The many 
 
 years of laborious and persevering study given to its compilation and 
 composition will be appreciated bj generations yet to come. Birming- 
 ham Gazette and Express. 
 
 "Miss K. Schlesinger has at length published in book form the results 
 of her interesting researches conci i ag bhe origin of the violin family." 
 Review of Reviews. 
 
 E. van deb Straeten writes in the Strad: " This work ranks among the 
 most remarkable modern literature on the subject."
 
 21 ORCHESTRAL. 
 
 ON CONDUCTING. By Richard Wagner. Translated by 
 E. Dannreuther. Second Edition, cr. 8vo, cloth, 5s. 
 A Treatise on Style in the Execution of Classical Music, written by a 
 practical master of the grand style. 
 
 W'eingartneb, speaking of this celebrated work, says: — "Wagner's book 
 laid the foundation for a new understanding of the function of the con- 
 ductor, in whom we now recognise, not only the eternal factor that holds 
 together an orchestral, choral or operatic performance, but above all the 
 spiritualising internal factor that gives the performance its very soul." 
 
 Grove's Dictionary says : " One of the finest of his minor publications, 
 and to a professional musician perhaps the most instructive. A Treatise 
 on Style, giving his views as to the true way of rendering classical music, 
 with minute directions how to do it and how not to do it, together with 
 many examples in musical type from the instrumental works of Beethoven, 
 Weber, Mozart, etc" 
 
 NOTES ON CONDUCTING AND CONDUCTORS. By T. R. 
 
 Croger, F.R.G.S., F.Z.S., also the Organising and Con- 
 ducting of Amateur Orchestras, with three full-page 
 Illustrations of the Various "Beats" and Plan of the 
 Orchestra. Third Edition, Revised and Enlarged. 
 Crown 8vo, cloth, 2s. (paper, Is.) 
 " A mine of good things." — Musical Opinion. 
 " One of the best guides to conducting." — Music Trades Review. 
 " A capital little book brightly written and full not only of entertaining 
 and racily-told anecdotes, but also of clear and sensibly-expressed opinions 
 on musical matters." — The Stage. 
 
 " The book appeals particularly to conductors of provincial societies, 
 whether instrumental or choral; it is written in a pleasant style, and is 
 full of practical hints by one who knows his subject, well." — Monthly 
 Musical Record. 
 
 " Many practical hints on the organizing and conducting of amateur 
 orchestras and choral societies." — Mornina Post. 
 
 HOW TO PLAY FROM SCORE. Treatise on Accompani- 
 ment from Score on the Organ or Pianoforte. By F. 
 Fetis. Translated by A. Whittingham. With 40 pages 
 of Musical Examples. Crown 8vo, bevelled cloth, 3s. 6d. 
 Contents :— IntroQuction. 1. On the Different Arrangements of Voices 
 and Instruments in Scores (Partitions). 2. On Vocal Parts; Instrumental 
 Parts, their Fixed Pitch and the Manner in which they are Written. 3. 
 Concerning the Manner in which the Accompanist should Road a Score in 
 order to grasp its Substance and its Details. 4. The Mechanism of Ac- 
 companiment. 5. Concerning the Influence of the Accompanist on the 
 Vocalist. 6. On Difference of Style. 7. On the Accompaniment of Early 
 Music without Orchestra, the Duets and Trios of Clari, Durante, Handel 
 and the Psalms of Marcello. 8. On the Reproduction of Ancient Orches- 
 tral Accompaniments. 9. On the Modern Style of Accompaniment. 10. On 
 Mozart, Cherubini, Mehul, Spontini, Rossini and the Modern School. 11. 
 Conclusion. 
 
 This popular and useful book might have been entitled "The Art of 
 Making Arrangements for the Organ or Pianoforte from Full Orchestral 
 and other Scorft-..'"' It contains all that is necessary to know upon this 
 subject.
 
 ORGAN. 
 
 MODERN ORGAN BUILDING. Being a Practical Explan- 
 ation and Description of the Whole Art of Organ Con- 
 struction, with Especial Regard to Pneumatic Action. 
 Together with Chapters on Tuning, Voicing, etc. By 
 Walter and Thomas Lewis (Organ Builders). With 70 
 Illustrations Drawn to Scale and Reproduced from 
 Actual Working Drawings, together with Diagrams, 
 Tahles, etc. 4to, cloth, 7e. 6d. 19 1 
 
 The Authors' Preface reads : 
 
 "In writing this treatise our aim has been to explain in a compre- 
 hensive and practical manner the mysteries of the up-to-date organ. That 
 is to say the twentieth century organ, the embodiment of the experience 
 of the past. 
 
 " The tracker organ has not been touched upon, for it has an extensive 
 literature of its own. 
 
 " A word on the drawings hereby published will not prove out of place. 
 Although it requires a certain amount of experience in order to ' read ' a 
 drr.wing quickly and easily, those reproduced in the pages of this work 
 should present no difficulties to anyone acquainted by sight with .organ 
 mechanism. To those with little or no knowledge of the subject, but 
 desirous of learning, the course is obvious. They must make the acquaint- 
 ance of some ardent amateur or professional organ builder, and solicit 
 explanations. 
 
 " The acoustical portion of the work is based upon the exposition r.f 
 acoustics as left by the Professors ITelraholtz and Tyndall. 
 
 " A lengthy list of organ stops has not been included, for the reason that 
 in this work we have gone more into the actual methods of producing the 
 various qualities of tone, than into the assembling of vague names, and 
 more or less indefinite descriptions, of the almost endless varieties of stops. 
 
 " As the mciil of a preface is in being short, we will conclude with the 
 earnest hope that this attempt, despite its imperfections, will go some way 
 o ards clearing up the doubt and uncertainty which still clings around 
 the pneumatic and electro-pneumatic organ." 
 
 SOME CONTINENTAL ORGANS (Ancient and Modern) and 
 their Makers. With Specifications of many of the fine 
 Examples in Ger~iny and Switzerland. By James I. 
 Wedgewood. Pes - "' 3vo, cloth, 2s. net. 
 
 Contains specification and a brief critique, of some of the famous old 
 Continental organs as they exist at the present day. Describes also several 
 v.p-to-date Continental organs. Amongst other organs particulars are 
 given of those at Haarlem, Cologne, Aix-la-Chapel'.e, Frankfurt. Heidel- 
 burg, Ulm, Stuttgart, Einsiedeln, Strassburg and Antwerp. This work 
 forms a valuable supplement to Hopkins' and Biuibault's great treatise. 
 
 " Mr. Wedgewood remarks on all details such as workmanship, tone, 
 peculiarities of mechanism, cost, etc. We thoroughly recommend Hie book 
 to those who are interested in organs." — Bazaar. 
 
 THE PEDAL ORGAN. Its History, Design and Control. 
 By Thomas Casson. With folding Diagram. 8vo. 
 sewed, Is. net.
 
 26 ORGAN. 
 
 THE ORGAN FIFTY YEARS HENCE. A Study of its 
 Development in the Light of its Past History and 
 Present Tendencies. By Francis Bcrgess, F.S.A., 
 Scot. 8vo, Is. net. 
 
 " All organists should read Mr. Francis Burgess' lecture on ' The Organ 
 Fifty Years Hence.' We have every sympathy for the opinions Sir. 
 Burgess expresses, though we have our doubts as to whether the un- 
 popularity of electrio action is not fully justified, etc." — The Chunk 
 Union Gazette. 
 
 " Gives us an excellent summary of what has been and is being done 
 towards improvement in organ construction and tone, and his criticisms 
 are always sound and convincing." — Glasgow Herald. 
 
 A PRACTICAL TREATISE ON ORGAN BUILDING. By F. 
 
 E. Robertson. With Working Drawings and Appen- 
 dices for ready calculation of all parts. Text in one 
 vol. Demy 8vo, and numerous plates in a royal. 4to 
 vol. 2 volumes, 31s. Gd. net. 
 
 " Many books upon Organ Building have been published in recent years, 
 but for fulness of information not one approaches Mr. Robertson's work, 
 wherein practical details and directions are given in every department <i! 
 Organ construction. The book is of course based upon old Don Bedos' 
 famous work, and contains the most valuable portion of Dr. Topfer's Ger- 
 man treatise, together with his learned diagrams and illustrations."— 
 Hermann Smith's " The Making of Sound In the Organ and In the Or- 
 chestra." \V. Reeves. 
 
 MODERN ORGAN TUNING, The How and Why, Clearly 
 Explaining the Nature of the Organ Pipe and the 
 System of Equal Temperament, Together with an His- 
 toric Record of the Evolution of the Diatonic Scale 
 from the Greek Tetrachord. By Hermann Smith. 
 Crown 8vo. cloth. 3s 6/?, 
 
 " The greatest authority on acoustical matters connected with oryan 
 pipes who has ever lived."— Q. A. Acdslet in his Art o; Organ Building. 
 
 " I have read ' Modern Organ Tuning' with great interest. It is a 
 book of value and should find appreciative readers. It should be a hand- 
 book with students of the organ and organ tuning." — A. J. Hipkins. 
 
 " Simple non technical terms set out with an attractiveness and lucidity 
 I have never seen surpassed the history of the evolution of the diatonic 
 scale from the Greek tetrachord * * * by no means intended for organ 
 students alone * * the historical explanations add to the fascination of 
 this volume." — Daily Telegraph. 
 
 " The book is just such another as its author's similar manual on the 
 tuning of pianos, a workmanlike handbook; full of sound practical advice 
 for the craftsmen concerned." — Scotsman. 
 
 " Recommended to the notice of organists with the fullest confidence that 
 they would derive both pleasure and profit from its perusal." — Scottish 
 Guardian.
 
 OBGAN. 27 
 
 RINK'S PRACTICAL ORGAN SCHOOL: A New Edition. 
 Carefully Revised. The Pedal Part printed on a Separ- 
 ate Staff, and the Preface, Remark? and Technical 
 Terms translated from the German expressly for this 
 Edition by John Hiles. The Six Books Complete, hand- 
 somely bound in red cloth, gilt edges, ob. folio, 10s. 6d. 
 net (issued at 20s.), or the six parts 7s. 6d. net (issued 
 at 6s. each), parts sold separately. 
 
 The best edition ever published of this Grand Classical work. No other 
 edition will bear comparison with it for care and skill in editing, nor for 
 beauty of engraving and excellence of printing-. One special merit of this 
 edition is that the bar lines arc bold, and that they arc drawn right through 
 the score, instead of through each staff, as wa3 the custom in days gone by. 
 The student who will take the trouble to test this edition against any 
 other, will at once perceive the advantage he gains from this clear and 
 distinct style of " barring " ; to an advanced performer the matter may be 
 perhaps of less importance, but even he cannot fail to appreciate the com- 
 fort of increased legibility. 
 
 As a royal road to thorough and sound Organ Playing in all styles, there 
 is no other School which will bear comparison with this: a ficginncr 
 can follow no better course than to go through it elowly. 
 
 A SHORT HISTORY OF THE ORGAN, ORGANISTS AND 
 SERVICES OF THE CHAPEL OF ALLEYN'S COL- 
 LEGE, Duhvich. With Extracts from the Diary of the 
 Founder, By W. H Stocks. Crown 8vo, sewed, Is. 
 
 THE EARLY ENGLISH ORGAN BUILDERS and their 
 Works, from the loth Century to the Poriod of the Great 
 Rebellion. An Unwritten Chapter on the History <>i 
 the Organ. By Dr. E. F. Rimbatjlt. Y\*ell printed. 
 With woodcuts, post 8vo, cloth, 3s. 6d. 
 
 ANALYSES OF MENDELSSOHN'S ORGAN WORKS. A 
 
 Study of their Structural Features. For the Use of 
 Students. By Joseph W. G. Hathaway, Mus. B. Oxon., 
 127 Musical Examples. Portrait and Facsimiles, Crown 
 8vo, bevelled cloth, 4s. Gd. 
 
 THE MAKING OF SOUND IN THE ORGAN AND IN THE 
 ORCHESTRA. With many illustrations. By Hermann 
 Smith. Crown 8vo, cloth, 7s. Gd. In the Press. 
 
 Highly recommciided by the late A. J. Hipkins. 
 
 ORGANIST'S QUARTERLY JOURNAL of Original Composi- 
 tions. Edited by Dr. W. Si-ark, 5s. per part, New 
 Series Volume, 1G0 large pages, oblong foiio, bound in 
 cloth, 18s.
 
 28 ORGAN. 
 
 THE ORGAN PARTS OF MENDELSSOHN'S ORATORIOS 
 AND OTHER CHORAL WORKS. Analytically Con- 
 sidered. By Orlando A. Mansfield, Mus. Doc, 
 F.Ii.C.O. With numerous Musical Examples. Crown 
 8vo, cloth, 4s. 6d. 
 
 HENRY SMARTS ORGAN COMPOSITIONS ANALYSED. 
 
 By J. Broadhouse. Crown 8vo, bevelled cloth, 2s. 6d. 
 
 THE INFLUENCE OF THE ORGAN IN HISTORY. By 
 
 Dudley Buck. New Edition with Illustrations. Crown 
 8vo, sewed, Is. net. 
 
 CATECHISM for the Harmonium and American Organ. By 
 John Hiles. Post 8vo, sewed, Is. 
 
 REFORM IN ORGAN BUILDING. By Thomas Casson 
 Crown 8vo, sewed, 6d 
 
 THE MUSICAL STANDARD. A Weekly Newspaper for 
 Musicians, Professional and Amateur. Established 
 nearly Half a Century. The Organ of no Clique. In- 
 dependent Criticisms. Correspondents in all Parts of 
 the World. Translations of Important Articles from 
 the foreign musical press. Illustrated Supplement 
 every week. "The Violin and String World" given 
 with the number the last Saturday of each month. 
 Price Twopence (by post, 2-Jd.). Annual Subscription, 
 10s. 10d., 6 months, 5s. 5d., 3 months, 2s. 9d. (Abroad, 
 12 months, 13s., 6 months, Gs. Gd.) Terms for Adver- 
 tisements on application to the Manager. Cases for 
 binding, Is. 6d. net (by post, Is. 9d.). 
 
 Portraits of celebrated musicians are given from time to time in " The 
 Musical Standard." Price 2d. each. List of Portraits that have already 
 appeared sent post free on application.
 
 PIANOFORTE. 
 
 THE ART OF TEACHING PIANOFORTE PLAYING. A 
 
 Systematised Selection of Practical Suggestions for 
 Young Teachers and Students. By J. Alfred John- 
 stone. Author of "Piano Touch, Phrasing and Inter- 
 pretation," "Modern Tendencies and Old Standards 
 in Musical Art,'' etc. Thick crown 8vo, cloth, 5s. 
 
 Many pianists who add to concert playing the labours of a teacher; 
 many young students about to enter upon the duties of the teaching 
 profession as their life's labour ; and indeed, not a few of those who have 
 spent years at the work of giving lessons in pianoforte playing, fail to 
 achieve the success their abilities deserve, simply for the lack of some 
 clear, systematic practical knowledge of the art of teaching. In this 
 volume methods are suggested, hints are offered, principles and rules are 
 formulated, courses of study are sketched out ; and all these are suffi- 
 ciently general and varied to furnish a useful guide for the teacher 
 without circumscribing his individual genius or running any risk of 
 stunting his development. 
 
 " Every teacher of a practical mind will, of course, desire to possess a 
 work of this kind." — The Music Student. 
 
 " The work of one who is both an experienced instructor and a thorough 
 musician." — Nottingham Guardian. 
 
 " The most comprehensive handbook for teachers that we know . . 
 the chapter on finger exercises is excellent."— The Literary World. 
 
 " To read this book thoroughly is to a pianist a liberal education . . . 
 the most comprehensive handbook for piano professors we have ever met 
 with." — Cheltenham Examiner. 
 
 ' " Gives good advice on every essential point .... it is because such 
 teachers as the author have emerged, that English pianists have arrived 
 at celebrity." — Birmingham Gazette and Express. 
 
 " The two main practical divisions, technique and interpretation, occupy 
 a space which their high importance requires .... anything that Mr. 
 Johnstone now takes upon himself to pen concerning the piano and its 
 surrounding attributes is looked at twice at least." — The Register, 
 Adelaide. 
 
 " Text books on the teaching of music are at present very few in num- 
 ber, and Mr. Johnstone's eminently practical treatise is a valuable addi- 
 tion to the pianoforte student's library .... the arrangement of the 
 book is the best possible proof of the author's ability as a master of 
 method .... we congratulate Mr. Johnstone on his work, which is un- 
 doubtedly one of the most valuable contributions to the literature of 
 pianoforte teaching, and should be in the library of every earnest teacher 
 and student." — Aberdeen Daily Journal. 
 
 AN ESSAY on the Theory and Practice of Tuning in General, • 
 and on Schiebler's Invention of Tuning Pianofortes 
 and Organs by the Metronome in Particular. Trans- 
 lated by A. Wehrhan. Crown 8vo, tewed, Is. 
 
 PRACTICE REGISTER for Pupil's Daily Practice. A 
 Specimen, Id., or Is. per 100.
 
 30 riANOFORTE. 
 
 REEVES' VAMPING TUTOR. Art of Extemporaneous Ac- 
 companiment, or Playing by Ear or the Pianoforte, 
 Rapidly Enabling anyone having an Ear for Music (with 
 or without any knowledge of Musical Notation) to Ac- 
 cuuipany with Equal Facility .in any Key with Prac- 
 tical Examples. By Francis Taylor. New Edition, 
 to which is added Instructions for Accompaniment 
 with Equal Facility in every Key illustrated by Ex- 
 amples. Folio, 2s. 
 
 PIANOFORTE TEACHER'S GUIDE. By L. Plaidy. Trans- 
 lated by Fanny Raymond Ritter. Crown 8vo, boards, 
 Is. 
 
 " Evidently written by a pianist who is a thorough master of his instru- 
 ment as well as a good teacher." — Educational Times. 
 
 " Some of the finest pianists of the clay owe much of their technical 
 facility to Plaidy's excellent method."— Bazaar. 
 
 REEVES' THE POPULAR PIANOFORTE TUTOR. Instruc- 
 tions, Scales, Exercises, Tunes. Folio, Is. 
 
 THE ART OF TUNING THE PIANOFORTE, A New and 
 
 Comprehensive Treatise to Enable the Musician to Tune 
 his Pianoforte upon the System founded on the Theory 
 of Equal Temperament. By Hermann Smith. Crown 
 8vo, limp cloth, New Edition, thoroughly Revised, 2s. 
 
 Readers will welcome this note of approval signed by A. J. Hipkins, a 
 name long associated with the Pianoforte and familiar to most musicians 
 in the musical literature of the present time. No better voucher could be 
 desired of the fair claims of this little book upon the reader's attention and 
 confidence. " I have had the privilege of reading the proofs of Mr. Her- 
 mann Smith's clear and exhaustive treatise on Pianoforte Tuning, and I 
 am satisfied that for the professional tuner, or the amateur who desires to 
 understand the subject and put the knowledge he acquires into practice, 
 there is no book upon it yet published that may be compared with it. I 
 recommend all tuners or would be tuners to study this unpretending and 
 excellent work, wherein the theory is laid down in clear and correct terms, 
 and the practice, as far as this is possible, is indicated judiciously." 
 
 THE DEPPE FINGER EXERCISES for Rapidly Developing 
 an Artistic Touch in Pianoforte Playing, carefully Ar- 
 ranged, Classified and Explained by Amy Fay (Pupil 
 of Tausig, Kullak, Liszt and Deppe). Folio, English 
 Fingering, Is. 6d. (Continental Fingering, Is. 6d.) r 
 The Musical Times says :— We are 93ked by a well-known pianist to say 
 that Herr Emil Sauer was trained up to his seventeenth year on the Deppe 
 system and that he owes his wonderful technique almost solely to that 
 method * * * Our correspondent adds that Hcrr Sauer speaks as enthusias 
 tically of the Deppe method as did Miss Amy Fay.
 
 PIANOFORTE. SI 
 
 T1AN0 TOUCH, PHRASING AND INTERPRETATION. By 
 
 J. Alfred Johnstone (author of "The Art of Teaching 
 Piano Playing," etc.) Crown 8vo, cloth, 3s. Gd. 
 
 " We can unreservedly recommend this book to all musical people who 
 are pianists." — Cheltenham Examiner. 
 
 " This is a book of rare educational excellence — the work of an expert 
 of acknowledged standing and experience, who possesses not only a very 
 complete knowledge of his subject, but also the faculty of expressing 
 himself in clear and unmistakable terms." — Aberdeen Daily Journal. 
 
 " Valuable hints on phrasing." — Freeman's Journal. 
 
 " A thoughtful and instructive discussion of many vexed questions of musi- 
 cal taste and particularly of musical execution, with a special reference to 
 the inner mysteries whereby the piano is made to talk to you." — Scotsman. 
 
 " Without any difficulty, the author disposes of most of the cant about 
 ' touch ' and shows that the so-called myxtrry is only a matter of proper 
 technique. Willingly would 1 quote from the text, only I think it betier 
 for the reader to get the book and go through it quietly, marking his 
 favourite passages for future reference." — The Musical Star. 
 
 " The aid he gives to the student in search of the best annotated edi- 
 tions of works is invaluable." — Sheffield Daily Independent. 
 
 "Deals at some length with the technique of pianoforte-playing " — 
 Yorkshire Post. 
 
 TECHNICAL STUDY IN THE ART OF PIANOFORTE 
 
 PLAYING (Deppe's Principles). By C. A. Ehren- 
 fechter. With numerous Illustrations. Fourth Edi- 
 tion. Crown 8vo, bevelled cloth, 2s. 6d. 
 
 Contents :— Position — Arm — Wrist — Fingers; Touch (Tone Production); 
 Legato; Equality of Tone; Tension and Contraction; Five Finger Exer- 
 cises: Skips; The Scale; Arpeggio Chords; Firm Chords; High Raising of 
 the Arm ; Melody and its Accompaniment ; Connection of Firm Chords ; 
 The Tremolo; The Shake (Trill) ; The Pedal; Fingering. 
 
 A detailed and exhaustive exposition of Deppe's principles of the Piano- 
 forte technic in all its features, notably with regard to touch and pas- 
 sage playing, showing tis immense advantage to be gained by their appli- 
 cation, from the elementary to the higher stages of technical development. 
 
 A piano student writes: — " llfcst useful. I am always rereading and 
 studying it. It has helped me a lot." 
 
 A professional musician who studied after this method, writes in an issue 
 of the Musical Standard as follows : " I am sure many must have felt with 
 me that the old system of teaching was useless for the production of a 
 technique fit to grapple with the appalling difficulties of much of the music 
 of the modern romantic school of composers. Let all whom arc ambitious 
 to overcome such difficulties attack them on the lines laid down by C. A. 
 Ehrenfechter, and I am convinced they will find, as I have done, their 
 desires realised in a most astonishing manner." 
 
 PIANO TEACHING. Advice to Pupils and Young Teachers. 
 By F. Le Couppey (Prof, in the Conservatory of Music, 
 Paris, etc.) Translated from the Third French Edition 
 by M. A. Bierstadt. Post 8vo, cloth, 2s. 
 
 •' Well worthy of perusal both by young teachers and pupils. The book 
 contains sound advice, particularly applicable to the study of Pianoforte 
 playing."— W. H. Webbk in The Pianist's A. B. C.
 
 32 FIANOFOBTE. 
 
 WELL-KNOWN PIANO SOLOS. How to Play them with 
 
 Understanding, Expression and Effect. By Charles 
 
 W. Wilkinson. First Series. Containing 26 Articles 
 
 dealing with the Works of Sinding, Scarlatti, Paderew- 
 
 ski, Handel, Rubinstein, Scharwenka, Schumann, 
 
 Godard, Delibes, etc. Crown 8vo, Is. 
 
 Contents of the First Series -.—Sinding, Rustle of Spring. Scarlatti, 
 Pastorale o C'apriccio. Paderewski, Minuet in G. Handel, Harmonious 
 Blacksmith. Rubinstein, Melody in F. Scharwfnka, Polish Dance. 
 Schumann, Nachtstiicke. Godard, Mazurka. Delibes, Pizzicati from 
 Sylvia. Grieg, Wedding Day at Troldhangen. Elgar, Salut d'Amour. 
 Paderewski, Melodie. Raff, La Fileuse. Tcraikovski, Troika. Godard, 
 Berger et Bergeres. Chaminade, Pierrette. Moszkowski, Etincelles. 
 Paderewski, Minuet in A Major. Grieg, Norwegian Bridal Procession. 
 Liszt, Regata Veneziana. Chaminade, Automne. Moszkowski, Serenata. 
 Lack, Valse Arabesque. Schumann, Arabeske. Chopin, Etude in G Flat. 
 Durand, First Valse. 
 
 Second Series, Dealing with Works by Schumann, Schiitt, 
 Rubinstein, Chopin, Heller, Rachmaninoff, Schubert, 
 Dvorak, Bendel, Grieg, Wach, Guttmann, Jensen, 
 Chaminade, Sibelius and Mendelssohn. Uniform with 
 above, Is. 
 
 Third Series, Dealing with Works by Lavallee, Rheinberger, 
 Mendelssohn, Chopin, Henselt, Schiitt, Moszkowski, 
 Strauss, MacDowell, Schubert, Schumann, Durand, 
 Scott, Hoffmann, Stiehl, Beethoven, Grieg and 
 Chaminade. Uniform with above, Is. 
 
 Draws one's attention to the beauties in a piece, explains difficulties here 
 and there, draws attention to a pedal effect and any peculiarity of finger 
 ing, and generally gives all the information a professor is expected to 
 give to his pupils. 
 
 " Described in detail in a manner to be understood by the youngest 
 student, and with a charm that must ensure the popularity of the book." 
 —Aberdeen Daily Journal. 
 
 " In plain language free from technicalities proffers valuable help to the 
 budding piano soloist." — Leicester Mail. 
 
 DELIVERY IN THE ART OF PIANOFORTE PLAYINX1, On 
 
 Rhythm, Measure, Phrasing, Tempo. By C. A. Ehren- 
 fechter. Crown 8vo, bevelled cloth, 2s. 
 
 " Deals with rhythm, measure, phrasing and tempo as applied to piano- 
 forte playing * * explains the difference between the subjective and objec- 
 tive in delivery and expresses his opinion that a performance of the born 
 artist must of necessity be subjective, while the wavering, undecided, and 
 uninsnired amateur will be safest in giving an altogether objective render 
 ing. The section with reference to accent is particularly good. There are 
 numerous illustrations from the works of the masters." — W. H. Webbe iu 
 The Pianist's A. B. C.
 
 PIANOFORTE. 33 
 
 HANDBOOK TO CHOPIN'S WORKS. Giving a Detailed 
 Account of all the Compositions of Chopin. Short 
 Analyses for the Piano Student and Critical Quota- 
 tions from the Writings of Well-Known Musical 
 Authors. By G. C. Ashton Jonson. The Whole 
 Forming a Complete Guide for Concert-Goers, Pianists 
 and Pianola-Players, also a Short Biography, Critical 
 Bibliography and a Chronological List of Works, etc. 
 Crown 8vo, cloth, gilt top, 6s. 
 
 Will be found equally useful and helpful to concert-goers, for whom it 
 forms a permanent analytical programme, to pianists, and to those ama- 
 teurs of music who can now, owing to the pianola, pursue for the first 
 time a systematic and coordinated study of Chopin's works, a delight 
 hitherto denied to them owing to their inability to read or play the more 
 difficult compositions. 
 
 " Here in one compact volume, is all that it is necessary to know about 
 Chopin and his works except by the leisured enthusiast * * * Each separ- 
 ate opus is placed in its proper sequence, and attached to them are brief 
 extracts, again from very rrany writings, together with Mr. Ashton 
 Jonson's own lucid criticisms. The task is well done ; nothing has ap- 
 parently been left out that ought to have been put in, and never once 
 can our author be accused of being tedious. The book should be greatly 
 studied by all." — Daily Chronicle. 
 
 " We would go further and welcome this carefully compiled handbook 
 in the interests of all musicians." — Daily Telerjrajih. 
 
 " It is obvious to us that Mr. Jonson has done exceedingly well, ana it 
 is to be hoped that the many lovers of Chopin will reward his labours by 
 purchasing his clever, eminently practical and highly interesting and 
 instructive handbook." — Musical Standard. 
 
 " A most useful addition to Chopin literature in the English language." 
 —Musical Times. 
 
 " A volume full of interest and instruction, even for those who think 
 tbey know their Chopin well already." — Truth.
 
 TECHNICAL AND THEORETICAL. 
 
 MODERN CHORDS EXPLAINED. (The Tonal Scale in 
 Harmony.) By Arthur G. Potter. With Musical Ex- 
 amples from the Works of C. Debussy, Richard Strauss 
 and Granville Bantock. 8vo, limp cloth. Is. (paper 
 cover, 6d. net). 
 
 " Well worth reading .... writes with conviction, ar.d his observations 
 on modern harmony, with examples ranging from Purcell to Strauss ami 
 Debussy, should interest every musician." — Daily Mail. 
 
 " Will undoubtedly interest those students of harmony who have been 
 striving to analyse chords for which there seemed to be no solution on tin- 
 diatonic scale." — Irish Tresbjjteiittn. 
 
 THE HARMONISING OF MELODIES. A Text-Book for 
 
 students and Beginners. By H. C. Banister. Third 
 
 Edition, with numerous Musical Examples. Crown 8vo, 
 
 limp cloth, 2s. 
 
 Chapters : — Introductory, The Resources of Harmony; Harmonising with 
 •' ttmoii Chords Only, General Principles: Couplets of Common Chords; 
 Plan, Rhythmical Structure, Phrases, Cadences; Cadences in Connection 
 with Modulation, Melodies in the Minor Mode; Continuity, Congruity with 
 Words ; Illustrations of Harmonising the same Melody in Different Ways 
 with Changed Mode; Florid Melodies, Unessential Notes, Different Forms 
 of Harmonising ; Pianoforte Accompaniment to a Melody ; Arpeggio Ac- 
 companiment ; Accidentals and Chromatic Passing Notes, A Caution, 
 Summary. 
 
 EXERCISES IN VOCAL SCORE READING. Collected from 
 the AVorks of Orlando di L:isso, Palestrina, Vittoria, 
 Barcroft, Redford, Peter Certon, Byrd, Gibbons, Croft, 
 Rogers, Boyce, etc. For Students preparing for the 
 R.C.O. and other Examinations. By James Lyon, 
 Mus.Doc. Oxon. 4to, paper covers, 3s. 
 
 Although there are books on vocal score reading in existence, the author 
 has found the exercises contained in this book — taken from the works of 
 writers of the early contrapuntal school— of the greatest possible value in 
 his private teaching, and he ventures to think that students preparing 
 for diplomas where vocal score reading is required, will welcome such a 
 3ollectiou as this 
 
 EXERCISES IN FIGURED BASS AND MELODY HAR- 
 MONIZATION. By Dr. James Lyon. 4 to, paper 
 covers, 2s. 
 
 EXAMPLES OF FOUR PART WRITING FROM FIGURED 
 liASSES AND GIVEN MELODIES. 4to, paper covers, 
 
 4s. 
 These exercises are printed in open score so as to be of use in score 
 reading tests. This volume forms a key to " Exercises in Figured Bass " 
 by the same autho
 
 TECHNICAL AND THEORETICAL. 35 
 
 HOW TO COMPOSE. A Practical Guide to the Composi- 
 tion of all Works within the Lyric Form, and which 
 include the Valse, Gavotte, Mazurka, Polonaise, 
 March, Minuet, and all Ordinary Dance Forms ; as also 
 the Nocturne, Impromptu, Berceuse, Reverie and 
 Similar Characteristic Pieces. By Edwin Evans, 
 Senior, F.ll.C.O. (author of " The Relation of Tchai- 
 kovsky to Art-Questions of the Day," "A Handbook to 
 Brahms' Works," "The Modal Accompaniment to 
 Plain Chant," etc.). With 60 Musical Examples. 
 Crown 8vo, cloth, 2s. 6d. (paper, Is. 6d. net). 
 
 This work is a store of the most valuable and practical musical know- 
 ledge, so condensed as to be of immense utility for its purpose. 
 
 The plan adopted is that of gradually developing a full composition 
 under the reader's own observation ; and of explaining to him every 
 feature as it occurs in such plain terms that the merest average musicai 
 knowledge is alone required for its comprehension. The principles of 
 th is little book aie in complete accord with those of the very highest 
 authorities; and full indices have been provided in order to bring every 
 fact of its contents within instant reach. Independently of composition 
 it is of special interest to the general reader; whilst to the musician and 
 student it is invaluable. This work is based upon the analogy of the 
 above to lyrical poetry ; advantage being taken of the reader's knowledge 
 o-f the latter. 
 
 " A daring subject to tackle, and one that in most cases would be 
 better left alone. We must confess that we opened the book feeling very 
 sceptical; but the author — who is well known as one of the most thought- 
 ful of our musical litterateurs — has handled his subject in a manner that 
 compels our admiration. To the young musician who feels that he ha9 
 something to say, we strongly advise the immediate purchase of this 
 thoughtful and distinctly practical treatise. It will save him from that 
 loose, meandering, formless music so characteristic, unfortunately, of 
 many of the early works of our young composers." — Aberdeen Daily 
 Journal. 
 
 PRONOUNCING DICTIONARY OF MUSICAL TERMS. By 
 
 Dr. Dudley Buck. Sixth Edition, with the Pronunciation 
 of each Term accurately given. Edited and Revised by 
 A. Whittingham. Crown 8vo, cloth, Is. (paper, 6d.) 
 
 A most valuable and useful little book to all musical people. The method 
 adopted for giving the correct pronunciation of each term is most concise 
 and clear. 
 
 HARMONY, EASILY AND PROGRESSIVELY ARRANGED. 
 
 Presenting in a Simple Manner the Elementary Ideas as 
 wel! as the Introduction to the Study of Harmony. 
 With about 300 Musical Examples and Exercises. By 
 Paul Colberg. Crown 8vo, cloth, 2s. (paper, Is.) 
 
 August Wilhelmj says :—" This work is distinguished by brevity and 
 clearness I most warmly recommend it."
 
 36 TECHNICAL AND THEORETICAL. 
 
 THE RUDIMENTS OF GREGORIAN MUSIC. By Francis 
 Burgess, F.S.A., Scot. Crown 8vo, 6d. 
 
 Plainsong or Gregorian Music, is the generic name given to that great 
 system of ecclesiastical melody formulated by the primitive Church and 
 retained in later ages as the official chant for use during the most solemn 
 acts of Christian worship. As a system it represents the accumulated 
 knowledge of several centuries usually accounted great by those who 
 respect tradition and whilst its peculiar and characteristic solemnity 
 marks it out as an ideal form of sacred music which the modern composer 
 may study with profit. 
 
 " An entertaining and instructive brochure."— Burton Daily Mail. 
 
 " A very clear and concise treatise." — Liverpool Daily Post. 
 
 EXERCISES ON GENERAL ELEMENTARY MUSIC. A 
 
 Book for Beginners. By K. Paige. Fourth Edition, 
 Part I. Price 9d. Part II., price Is. Crown 8vo, 
 sewed (2 parts complete in cloth, 2s. 4d.) 
 
 Contents of Part I.— 1. Pitch. 2. Length of Sounds. 3. Time. 4. Time 
 and Accent. 5. Intervals. 6. Scales. 7. Transposition. 8. Syncopation. 9. 
 Signs and Abbreviations. 10. Notation. 11. Miscellaneous Questions and 
 Exercises. 
 
 Contents of Part II.— 1. Triads. 2. First Inversion of a Triad. 3. Second 
 Inversion of a Triad. 4. Dissonances. 5. Suspensions. 6. Sequences. 7. 
 Cadences. 8. Dominant Sevenths, etc., etc. 
 
 " We have much praise not only for the general arrangement of the book, 
 but for the lucid manner in which the questions are put.' The Chapters on 
 Time and Accent are exceedingly good, and there are some useful exercises 
 to accustom the pupil to transposition. We are especially pleased, too, 
 with the method of writing incomplete bars, and asking the pupil to supply 
 the missing parts with rests : also of requiring notes to be changed into 
 rests and rests into notes."— M us ical Times. 
 
 THE ART OF MODULATING. A Series of Papers on Modu- 
 lating at the Pianoforte. By Henry C. Banister. 
 With 62 Musical Examples. Crown 8vo, limp cloth, 2s. 
 
 Moreover in writing a composition there is time to think, devise and 
 contrive ; but that which is the subject of the above work is promptness, 
 readiness, and quick thought under special circumstances. 
 
 Not only at examinations — viva voce — but in actual experience, is ability 
 required to pass rapidly with very little " process " from one key to 
 another. 
 
 " A great portion of the book is taken up with analyses of the modula 
 tions employed by the great composers in their most significant works — 
 these are always scholarly and ingenious and certainly show how by prac- 
 tice wedded to adequate knowledge it may be possible to pass rapidly with 
 very little of what the writer calls ' process ' from one key to another." — 
 London Musical Courier. 
 
 THE STUDENT'S BOOK OF CHORDS. By Pascal Need- 
 ham. Crown 8vo, sewed, 6d. 
 
 The Author says: — A very large number of music students, executive and 
 theoretical, have expressed to me from time to time a desire for a cheap 
 book, in which the chords with their inversions and resolutions are briefly 
 and clearlr explained. To these students I dedicate this work.
 
 TECHNICAL AND T1IE011ETICAL. 37 
 
 ELEMENTARY MUSIC. A Book for Beginners. By Dr. 
 
 Westbrook. With Questions and Vocal Exercises. 
 
 Thirteenth Edition. Crown 8vo, cloth, Is. Gd. (paper, 
 Is.) 
 
 Contents:—]. The Staff and its Clefs. 2. Notes and their Rests. 3. 
 Bars and Time. 4. Accidentals. 5. Keys and Scales. 6. Intervals. 7. 
 Musical Pitch. 8. Accent. 9. Secondary Signs. 10. Ornaments and Groups 
 of Notes. 11. Voices and Scores. 12. Church Modes. 13. Italian and other 
 Directions. 14. Foreign Note-Names. 15. Questions. 16. Vocal Exercises 
 
 " His explanations are extremely clear. The questions at the end will 
 be found very useful." — Musical Times. 
 
 " This little, primer is one of the best of its kind, and forms an admir- 
 able course of preparation for the local examinations in music * * * * it 
 ensures, as far as a book can, an intelligent and thorough grasp of the 
 elements of musical knowledge. The questions at the end of the book will 
 be found invaluable to teachers." — Journal of Trinity College, London. 
 
 HOW TO MEMORIZE MUSIC. By C. F. Kenyon. With 
 
 numerous Musical Examples. Crown 8vo, cloth, 2s. 
 (paper, Is.) 
 
 " Mr. Kenyon proves himself an excellent guide ; and indeed we know 
 of no other work devoted to the subject with which he has dealt so thor- 
 oughly and so successfully." — Glasgoio Herald. 
 
 " Points out the paramount importance of being able to play from 
 memory. Many useful hints are given on the course of study to be 
 adopted." — Morning Post. 
 
 " A most valuable little book of eight chapters, containing valuable 
 information on the art of memorising, with many illustrations." — Western 
 Morning News. 
 
 " May do much good inducing young pianists to exert their brains to 
 gether with their fingers." — Yorkshire Post. 
 
 HARMONY AND THE CLASSIFICATION OF CHORDS. 
 
 With Questions and Exercises. By Dr. J. H. Lewis. 
 Vol. 1, 8vo, boards, cloth back, 5s. 
 Ditto, Vol. 2. 8vo, boards, cloth back, os. 
 
 COUNTERPOINT : A Simple and Intelligible Treatise. Con- 
 taining the most Important Rules of all Text Books, in 
 Catechetical Form ; (Forming an Answer to the Question 
 "What is Counterpoint?") Intended for Beginners. 
 By A. Livingstone Hirst. (Reeves' Educational 
 Series, No. G). Crown 8vo, sewed, 9d. 
 
 THE ART OF MODULATION. A Hand-book Showing at a 
 Glance the Modulations from one Key to any Other in 
 the Octave, consisting of 1,008 Modulations. For the 
 Use of Organists and Musical Directors Edited by 
 Carli Zoeller. Third Edition. Roy. 8vo, cloth, 4s. 
 (paper, 2s. 6d.)
 
 38 TECHNICAL AND THEORETICAL. 
 
 HOW TO HARMONIZE MELODIES. With Hints on Writ- 
 ing for Strings and Pianoforte Accompaniments. By 
 J. Henry Bridger, Mus.Bac. With Musical Examples 
 throughout. Crown 8vo, cloth, 2s. 6d. 
 
 The above work deals with a branch of the subject of Harmony which 
 in the past received but scant consideration in the standard treatises ; 
 and though of late years works have appeared dealing- more or less fully 
 with the subject, there are some points which, as the result of many 
 years' teaching experience, the author considers require to be treated in 
 greater detail to afford the students the necessary guidance ; such, for 
 example, as the treatment of the cadences and of accidentals. The present 
 work is an attempt to supply this, and is almost entirely practical. 
 
 Chapteus : Method of Study — Cadences and Analysis of Melodies — Final 
 Cadences — Middle Cadences — Harmonization with Primary Chords — Domin- 
 ant Seventh and Secondary Chords — Use of other Diatonic Discords — Florid 
 Melodies— Accidentals, Modulation and Chromatic Chords — Harmonization 
 in Three and Five Parts — Part-Writing for Strings — Adding Free Accom- 
 paniments. 
 
 " The book is full of musical examples and to facilitate comparison the 
 majority of the examples arc in the key of C, major or minor." — 
 Cheltenham Examiner. 
 
 MUSICAL SHORTHAND for Composers, Students of Har- 
 mony, Counterpoint, etc., can be Written very Rapidly 
 and is more Legible than printed Music, with Specimens 
 from Bach, Handel, Chopin, Wagner, Mendelssohn, 
 Spohr, Mozart, etc. By Francis Taylor, 14 pages, 
 12mo, sewed, 6d. 
 
 " Composers and Students of Music expend a vast amount of time in mere 
 painful mechanism." We have only six totally unlike signs. These from 
 their simplicity can be written with great rapidity, one dip of the pen 
 sufficing lor an entire page, and the writing being as legible as possible. — 
 Preface. 
 
 TRANSPOSITION AT SIGHT. For Students of the Organ 
 
 and Pianoforte. By H. Ernst Nichol. Third Edition, 
 
 with numerous Musical Exercises. Crown 8vo, cloth. 
 
 Is. 6d. (paper, Is.) 
 
 There is no need to dwell upon the usefulness or even the necessity of 
 transposition to the organist or the accompanist of songs. The practice of 
 transposing upon the lines here laid down developes the " mental ear," 
 quickens the musical perception and gives ease in eight-reading; as it is 
 evident that, if the student can transpose at sight, he will not have much 
 difficulty in merely playing at sight. The author has made free use of the 
 tonic sol-fa as well as the old notation in his many musical exaniDles. 
 
 A FIRST BOOK OF MUSIC FOR BEGINNERS, Embodying 
 Recent English and Continental Teaching. By Alfred- 
 Wiuttingham. Sixth Thousand. Crown 8vo, sewed, 2d- 
 The two principal objects kept in view in writing this little book were 
 Thoroughness of Definition and Regular Order in the arrangement of Sub- 
 jects: It differs from all other similar works in that all the technical 
 terms in music are introduced in the Answers not in the Questions. ,
 
 TECHNICAL AND THEORETICAL. 
 
 39 
 
 MUSICAL ANALYSIS. A Handbook for Students. By 
 H. C. Banister. With Musical Illustrations. Crown 
 8vo, limp cloth, 2s. 
 
 This series of Papers has not been intended as a Treatise on its bound- 
 less subject; only illustrative of the way in which students may go to 
 work in the interesting process of Analysis. To work at it is much more 
 interesting and improving than to read Analysis already made for them. 
 The student should look out for beauties, even of the simpler kind, as 
 well as endeavour to solve recondite problems. Try and enjoy the land 
 scape and not merely map out the country. 
 
 " This neatly-got-up volume is indispensable to all students of music. It 
 is at once thorough and popular, scientific and interesting, and whilst most 
 instructive, it is charmingly luminous."— Gentleman's Journal. 
 
 THE STUDENT'S HELMHOLTZ. Musical Acoustics or the 
 Phenomena of Sound as Connected with Music. By 
 John Broadiiolse. With more than 100 Illustrations. 
 Fourth Edition. Crown 8vo, cloth, 7s. 6d. 
 
 '■ In his Preface the author says :— ' The object of the present book is to 
 give, in one volume, a good general view of the subject to those who can 
 neither spare time to read, nor money to buy a number of la*ge and 
 expensive works.' A perusal of the book justifies us in asserting that this 
 design is most satisfactorily carried out ; and it is not too much to say 
 that although the plan of the work excludes the possibility of minutely 
 dissecting every subject treated upon, any careful reader may obtain so 
 clear an insight into the principle of acoustics, as to enable him not only 
 to pass an examination but to store up a large amount of general know- 
 ledge upon the phenomena of sound." — Musical T/mes. 
 
 " The Student's Helmholtz will be very useful to many musicians, to 
 whom much in Helmholtz' s work must appear obscure. I shall recommend 
 the book whenever an opportunity offers itself. "—Dr. Iiittib. 
 
 This work has been specially designed for musical students preparing 
 for examination.
 
 YIOLIN. 
 
 THE VIOLIN AND OLD VIOLIN MAKERS. Being a His- 
 torical and Biographical Account of the Violin. By 
 A. Mason Clarke. With Facsimiles of Labels used by 
 Old Masters and illustrations of a copy of a Gasparo da 
 Salo. Crown 8vo, cloth, 2s. net (paper, Is. net). 
 
 The Author in his Preface says : " I set to work with the object of pre- 
 senting in a concise form such information as I have thought necessary, 
 or at least of interest to every one who elects to take up the violin, either 
 as an object of recreation or serious study. In order to facilitate my 
 labours, I liave consulted the leading British and foreign authorities on 
 the violin and kindred instruments. I have also during many years de- 
 voted much time to the inspection and study of genuine old instruments." 
 
 Contents: Part I. — Historical. 1. Introductory and Early English 2. 
 Italy. 3. France. 4. Germany. Part II. — Biographical Violin Blakers of 
 the Old School. 1. Italian, with Labels. 2. German and Tyroleee, with 
 Labels. 3. French, with Labels. 4. British, with Label. Part III.— On 
 the Development of Classical Music for the Violin and other Stringed 
 Instruments. 
 
 THE ART OF HOLDING THE VIOLIN AND BOW AS EX- 
 EMPLIFIED BY OLE BL'LL. His Pose and Method 
 proved to be based on true Anatomical Principles. By 
 A. B. Crosby, M.D., Professor of Anatomy. Por- 
 trait, Diagrams and Illustrations. 8vo, cloth, 2s. 
 (paper, Is.) 
 
 Included in the above are some interesting recollections and anecdotes 
 of Ole Bull. 
 
 THE HISTORY OF THE VIOLIN and other Instruments 
 Played on with the Bow from the Remotest Times to the 
 Present. Also an Account of the Principal Makers, 
 English and Foreign. With Coloured Frontispiece and 
 numerous Full-page Illustrations and Cuts. By William 
 Sandys, F.S.A., and Simon Andrew Forsier. 390 
 pages, 8vo, cloth, 7s. 6d. net (published at 14s.) 
 
 INFORMATION FOR PLAYERS, Owners, Dealers and 
 Makers of Bow Instruments, Also for String Manu- 
 facturers. Taken from Personal Experiences, Studies 
 and Observations. By William Hepworth. With Il- 
 lustrations of Stainer and Guarnerius Violins and Guage 
 of Millimetres and Centimetres, etc. Crow" 8vo, cloth, 
 2s. fid. 
 
 Contents :— The Pegs— Neck— Fingerboard— Bridge— Tail-Piece— Saddle- 
 Fiolin Holder— Tail pin— Bar— Sound Post— On the Stringing of Bow In- 
 struments in General Use— Strings— Rosin— Cleaning of the Instrument and 
 the B.-idge— Bow— Violin Case— Repairs— Presfrvat ion— Conclusion.
 
 VIOLIN. 41 
 
 TECHNICS OF VIOLIN PLAYING. By Karl Courvoisier. 
 With Illustrations. Tenth Edition. Cloth, 2s. 6d. 
 (paper, Is.) 
 
 " It is my opinion that this book will offer material aid to all violin 
 players." — Joachim. 
 
 " As far as words, aided by diagrams, can make clear so practical i 
 subject as the playing- of a musical instrument, this little book leaves 
 nothing to be desired. The author, who was a pupil of Joachim, has 
 treated the subject in a most thorough manner, and we can highly recom- 
 mend his little book."— Educational Times. 
 
 " Illustrated in the clearest possible manner, by really admirable 
 drawings." — Graphic. 
 
 " Courvoisier, a pupil of Joachim, has aimed at presenting an exposition 
 of the methods of that great master, in which attempt he has, according 
 to Herr Joachim's own explicit declaration, been very successful." — 
 Scotsman. 
 
 " A most thorough exposition of everything connected with this difficult 
 instrument." — Schoolmaster. 
 
 TREATISE ON THE STRUCTURE AND PRESERVATION 
 OF THE VIOLIN and all other Bow Instruments.. To- 
 gether with an Account of the most Celebrated Makers 
 and of the Genuine Characteristics of their Instruments. 
 By J. A. Otto, with Additions by J. Bishop. With 
 Diagrams and Plates. Fourth Edition, further En- 
 larged. Crown 8vo, cloth, 3s. 
 
 Contains instructions for the repair, preservation and bringing out the 
 tone of instruments; tracing model for violin, mutes and fiddle holders; 
 list of classical works for stringed instruments. This work is especially 
 valuable for makers of violins. 
 
 HOW TO PLAY THE FIDDLE. For Beginners on the 
 Violin. By H. W. and G. Gresswell. Eighth Edition. 
 Crown 8vo, cloth, 2s. (paper, Is.) 
 
 Joachim says: — "Contains many useful hints about violin playing." 
 Contents r-^General and Introductory — On Teaching the Violin — On In- 
 struction Books — On Practice — Relating to the Purchase of a Violin — Im- 
 portance of Buying a Good One— How to Set about Securing a good Violin 
 —The Merits of Old Fiddles, Age and Use— The Testing or Making Trial 
 of a Fiddle — Preservation and Repair of Violins — General and Historical — 
 Few Short Remarks of a General Character — Short History of Some Cele- 
 brated Violin Makers — The Sound Bar and the Sound Post— The Bridge — 
 A Few Words on the Pegs. Mute, Resin and Fingerboard— The Strings— 
 The Mode of Stringing— The Bow— Bowing— The Method of Tuning the 
 Violin — Some Rules to be Observed in Playing — Double Stopping — Har- 
 monics—Remarks on the Shift— The Shake — On Playing with an Accom- 
 paniment — Concluding Observations. 
 
 " We can cordially recommend this clever little work to all who ars 
 studying the violin." — Graphic. 
 
 FACTS ABOUT FIDDLES. Violins Old and New. By J. 
 Broadhouse. Fourth Edition. Crown 8vo, sewed, 6d.
 
 42 VIOLIN. 
 
 THE VIOLIN, Its History and Construction, illustrated 
 and Described from all Sources. Together with a List 
 of Tyrolese and Italian Makers. With Twenty-nine Il- 
 lustrations and Folding Example of the First Music 
 Issued for the Lute, Viol and Voice. From the German. 
 
 of AiiKirc and Nieperheitman. By John Broadhouse. 
 
 Crown 8vo, cloth, 2s. 
 "The learned and instructive treatise of Abele, skilfully rendered by 
 J. Broadhouee and supplemented by a version of Kicderheitmann's list of 
 Italian and Tyrolese violin makers, a compilation invaluable to collectors 
 and connoisseurs of rare fiddles * * * a work wlfich forms a noteworthy 
 addition to the small number of English books upon this ilffercEting 
 subject. 5 — Scotsman. 
 
 The importance of this work has been long recognised on the Continent, 
 where it is eagerly sought for at a high price. The above is a full trans- 
 lation, special attention has been given to a proper rendering of technical 
 portions. 
 
 HOW TO iMAKE A VIOLIN, Practically Treated. I'-y J. 
 Broadhouse. New and Revised Edition. With -17 Il- 
 lustrations and Folding Plures and many Diagrams, 
 Figures, etc. Crown 8vo, bevelled cloth, 3s. 6d. 
 
 Contents: — Introduction — The Parts of the Violin— On the Selection of 
 Wood— The Tools Required— The Models— The Mould— The Side-pieces and 
 Side Linings— The Back— Of the Belly--The Thickness of the Back and 
 Belly— The Bass Bar— The Purfling— The Neck— The Finger Board— The 
 Nut and String Guard — Varnishing and Polishing — Varnishes and Colour- 
 ing Matter — The Varnish — A Mathematical Method of Constructing the 
 Outline — The Remaining Accessories of the Violin. 
 
 This new edition has had the advanfaee of beintr revised throughout by 
 a celebrated violin maker. 
 
 THE VIOLIN AND STRING WORLD. Monthly (in Continu- 
 ation of "The Violin Times.") With Portrait Supple- 
 ments. Annual Subscription 2s. 6d. (Abroad 3s.) 
 
 SKETCHES OF GREAT VIOLINISTS AND GREAT 
 PIANISTS. See "Biographical Section." 
 
 STRADIVARIUS. B.vFetis. See " Biographical Section." 
 
 BIOGRAPHICAL DICTIONARY OF FIDDLERS. See "Bio- 
 graphical Section." 
 
 VIOLIN MANUFACTURE IN ITALY and its German Origin. 
 By Dr. E. Schebek. Translated by W. E. Lawson. 
 Second Edition. Square 12mo, cloth, 2s. (paper, Is.) 
 
 HOW TO REPAIR VIOLINS and other Musical Instruments. 
 By At.erep F Common. With Diagrams. Crown 8vo, 
 cloth, 2s. (paper, Is.)
 
 VOCAL. 
 
 THE THROAT IN ITS RELATION TO SINGING. A Series 
 of Popular Papers. By Whitfield Wakd, A.M., M.D. 
 
 With Illustrations. Crown 8vo, cloth, 2s. (paper, Is.). 
 
 Contents : Anatomical Structure of the Throat ; What we see with the 
 
 Laryngoscope ; How we Sing ; How we Breathe ; How to take Care of the 
 
 Voice; Hints to Voice Builders; How the Voice is Destroyed; Common 
 
 Throat Affections of Singers, together with their Treatment, etc. 
 
 TWELVE LESSONS ON BREATHING AND BREATH CON- 
 TROL. For Singers, Speakers and Teachers. By Geo. 
 
 E. Thorp. Crown 8vo, limp cloth, Is. 
 
 TWENTY LESSONS ON THE DEVELOPMENT OF THE 
 VOICE. For Singers, Speakers and Teachers. By 
 Geo. E. Thorp. Crown 8vo, limp cloth, Is. 
 
 Mr. Thorp's two books have from time to time been recommended by 
 various eminent vocal specialists as giving practical aid and advice for 
 the training, care and development of the voice. They are free from any 
 biased " system " or " discovery." 
 
 TREATISE ON THE TRAINING OF BOY'S VOICES. With 
 Examples and Exercises and Chapters on Choir-Organ- 
 ization. Compiled for the Use of Choirmasters. By 
 George T. Fleming. Crown 8vo, cloth, 2s. 
 
 GRADUATED COURSE OF EXERCISES FOR BOY 
 CHORISTERS. With Pianoforte Accompaniment. 
 For Use in Conjunction with Above. By G. T. 
 Fleming. 4to, album, sewed, Is. 
 
 — — ■ — Ditto, Boy's Voice Part oa\y, Gd. 
 
 5® MUSICAL HINTS TO CLERGYMEN. Management of 
 Breath, Classification of Male Voices, Management of 
 the Voice, The Service. With twenty specially written 
 Exercises. By Geo. F. Grover. Crown 8vo, sewed, Is. 
 
 SOME FAMOUS SONGS. An Art Historical Sketch. By 
 
 F, Pi. Ritter. 8vo, sewed, Is. 
 
 HOW TO MANAGE A CHORAL SOCIETY. By N. Kilburn, 
 Mus. Bac. Third Edition, Revised. Crown 8vo, sewed, 
 6d. 
 
 HOW TO SING AN ENGLISH BALLAD. By E. Philp, 
 Seventh Edition. Crown 8vo, sewed, 6d. 
 "It would be difficult to find a casket of brighter gema than those which 
 lie within the cover of this little work."— Illustrated London News.
 
 44 VOCAL. 
 
 PHYSICAL DEVELOPMENT IN RELATION TO PERFECT 
 VOICE PRODUCTION. By H. Travers Adams, B.A. 
 
 8vo, sewed, 2s. net. 
 
 This work is especially intended for students and is divided into sections, 
 such as Vibration, Breaks and Registers, The Speaking Voice, Attaok, 
 Practical Application, Breathing, Inspiration, Final Exercise in Inspira- 
 tion, Expiration, Active or Forced Inspiration, Completion of Breathing:, 
 Practice of Sounds, Placing, Classification of Voices. 
 
 OBSERVATIONS ON THE FLORID SONG. Or Sentiments 
 
 on the Ancient and Modern Singers. By P. F. Tosi. 
 
 Translated by Mr. Galliard. With folding Musical 
 
 Examples. 184 pages. A Reprint of this Celebrated 
 
 Book, first published in 1743. Crown 8vo, boards with 
 
 vellum-like back, price os. (pub. 10s). 
 
 Recommended to all Students of the Italian Method of Singing by the 
 late Charles Lunn. 
 
 " The readers of the Etude have frequently been treated to quotations 
 from this remarkable work. To the teacher and student of singing it has 
 a peculiar message. It stands for all that is sound and final in the phil- 
 osophy of singing and shows that the aesthetics and morals of the art are 
 changeless. Those who need a healthful mental stimulus should read this 
 reprint of a work that represents the best thought and practice of the 
 old Italian singers and singing masters." — The Etude. 
 
 " It is a practical treatise on singing in which the aged teacher em- 
 bodies his own experience and that of his contemporaries at a time when 
 Hie art was probably more thoroughly taught than it has ever been since. 
 Many of its remarks would still be highly useful."— Grove's Dictionary of 
 Music and Musicians. 
 
 CATECHISM OF PART SINGING. And the Choral Services. 
 
 By John Hiles. Third Edition. Thick post 8vo, 
 
 sewed, price Is. 
 
 Advice to singers on every point of interest in reference to the vocal 
 organs. 
 
 VOICE PRODUCTION AND VOWEL ENUNCIATION. By 
 
 F. F. Mewburn Levien. Diagrams by Arthur C. Beh- 
 ren^>. Post 8vo, sewed, 6d. 
 
 VOCAL EXERCISES FOR CHOIRS AND SCHOOLS. By Dr. 
 
 Westbrook. Post 8vo, sewed, 2d. 
 
 RUDIMENTS OF VOCAL MUSIC. With 42 Preparatory 
 Exercises. Rounds and Songs in the Treble Clef. By 
 T. Mee Pattison. Second Edition. Post 8vo, sewed, 2d.
 
 WAGNER. 
 
 JUDAISM IN MUSIC. Being the Original Essay together 
 with the Later Supplement. By Richard Wagner. 
 Translated from the German (Das Judenthnm in der 
 Musik) and Furnished with Explanatory Notes and In- 
 troduction. By E. Evans, Senior. Crown 8vo, cloth, 
 3s. 6d. 
 
 " It at last becomes possible calmly to seek to draw from this essay 
 those valuable lessons relating to art-culture which are therein contained, 
 not in that aspect of the main subject by which Wagner was most ex- 
 oited or his adversaries most offended, but in those subsidiary refereiuca 
 and explanations by means of which he then thought merely to support 
 his case but to which time has given a greater value than to the case 
 itself. The noise and disturbance created by the publication of the above 
 work drew public attention for the first time to Wagner's prose writings 
 and created a demand which has continued e\er since." 
 
 " This ' human document ' shows Wagner in a peculiarly personal light, 
 and as such it will be read with interest by those who believe that the 
 composer of the ' King ' never wrote anything which is not worth reading." 
 —The Scotsman. 
 
 " Credit may also be given to the translator for the evident care and 
 impartiality with which he has annotated both the original essay anil the 
 supplement, his footnotes being of a kind, indeed, to help the reader 
 appreciably to a correct understanding of Wagner's line of thought and 
 reason ing."— Daily Telegrapli. 
 
 " This is an excellent translation from the German, and only those who 
 have tried know the difficulties of Wagner's prose .... very illumin- 
 ating footnotes. "—Cheltenham Examiner. 
 
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