Chapter IX

LOVE AND BUSINESS
____________

Bacon's Essay of "Love" compared

with

the Treatment of Love in Shakespeare

_____________

from the book

Shakespeare Studies in Baconian Light

by

Robert Theobald

pp.126-166

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Section 1. The Problem
Section 2. Mistaken View of the Essay
Section 3. The Essay of Love: Its Real Import
Section 4. Bacon's Praise of the Worthiest Affection
Section 5. Restricted Use of Love in Shakespeare
Section 6. Love in the Historical Plays
Section 7. Love in the Tragedies
Section 8. Love in the Comedies
Section 9. Love always Subordinate in Shakespeare
Section 10. Love in the Minor Poems
Section 11. Love Lyrics
Section 12. Conclusions
Section 13. The AEthiope
Section 14. Love Engenedered in the Eye
Section 15. Folly and Love Connected Generally

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In Tennyson's "Life" (II. 424) the following occurs in a letter to a friend:

" I have just had a letter from a man who wants my opinion as to whether Shakespeare's Plays were written by Bacon. I feel inclined to write back, "Don't be a fool, sir!' The way in which Bacon speaks of love would be enough to prove that he was not Shakespeare. " I know not how, but martial men are given to love. I think it is but as they are given to wine, for perils commonly asked to be paid in pleasures.' How could a man with such an idea of love write Romeo and Juliet?

And yet even Tennyson might have paused before shutting off the claims for Bacon with such resolute incredulity, not to say unexpressed incivility. For he himself had found in Bacon qualities which are at first sight as incompatible with an unromantic view of love, as he supposed Shakespeare to be. Tennyson had been on one occasion speaking of Lord Bacon, and said,

"That certain passages of his writings, their frequent eloquence and vivid completeness lifted him more than those of almost any other writer."

And of the Essays he said,

"There is more wisdom compressed into that small volume than in any other book of the same size that I know." (Life, II. 76, 415).

Clearly, then, any unfavourable impression derived from one or tow passages in a small Essay may be corrected and perhaps even vindicated when a larger view is taken. What more could he say of Shakespeare's wisdom than this?

The objection which Tennyson expressed so energetically is one that is often raised when the Baconian theory is under discussion.

THE PROBLEM

1. It has often been objected to the Baconian theory, that the author of the Essay of "Love" and of "Marriage and Single Life" could not also have written the exquisite love scenes of the Shakespeare plays. Bacon's view of love, it is said, is so cold, so passionless, so unromantic, that he was evidently incapable of understanding or sympathising with the sweeter aspects of the tender passion. This objection is presented in a very triumphant way, as at once settling the whole question, and indeed many Baconians at first find it staggering and embarrassing in the highest degree,an argument which it is extremely difficult to meet. It is worth while then to examine somewhat carefully; and in doing so the polemics of the case need not blind us to the exceedingly interesting and suggestive comparisons, which it necessitates between the poet and the essayist.
Those who urge this objection, do so, it seems to me, in a very loose way, not attempting to estimate the real purpose or import of the Essays: not taking any very comprehensive view of the attitude of the Shakespearean poet to the sentiment of love. If the two are to be compared, it is only fair to make a quantitative and qualitative analysis of both.

MISTAKEN VIEW OF THE ESSAY

2. Bacon speaks in his Preface of a double purpose in his Essays : 

"They come home to men's businesss and bosoms." 

One might suppose that if he wrote on love and marriage, the "bosom" side of his readers would be especially addressed. But it is not so :  the bosom side is neglected the topic of the Essay is the business side of this question. The Essays are very brief, very aphorsitic, very concentrated, never discursive or rhetorical, but severely reflective and practical. It is true that poetic touches of the most exquisite character constantly present themselves. The Essay of "Adversity," for instance, is a most perfect poem. But on the whole, in the Essays emotion is a most perfect poem. But on the whole, in the Essays emotion is suppressed, business is supreme. Anyone who goes to the Essay of "Love" for a complete account of Love in all its points of contact with life and experience, is on a wrong quest. Love from the Statesman's and Philosopher's point of view, love as related to what we might now call politics or economics, love in its bearing on public life and "business," is the real topic and no other. The mere title "Of Love," "Of Marriage and Single Life," does not justify anyone in assuming that the text shall contain exactly what he expectsexactly what he would have written on these topics. These Essays are not accommodated to the preconceptions of a Nineteenth Century reader, whose mind is saturated with the fiction, romance or poetry of its literature. And Bacon does not trouble himself to define his limits; any capable reader, who is entitled to critcise, can do that for himself. Such a reader will not be slow to perceive that here is nothing like a rhapsody, not even an exhaustive psychologic or physiologic account of the passion or sentiment of love, but something entirely different. Many critics, strange to say, have started with the most unreasonable claim that Bacon's discourse on love shall contain not only what they think he ought to say, but all that he himself had to say the whole continent of his thoughts and feelings about love. And if he does not satisfy these most unreasonable preconceptions, they, measuring the great man by their own small foot-rule, think themselves justified in writing about him in this style:

"Bacon knows nothing of the valuable influence of unselfish and holy love for a fair mind in a fair body. His prudential treatment of the whole subject is scarcely better than the sneers of La Rochefoucauld." His cold philosophic nature was incapable of feeling or even imagining the loves of a Cornelia and Paulus, a Posthumus and Imogen." (Storr and Gibson's Edition of Essays)

Anything more narrow and impertinent than this it is difficult to conceive. These pedagogic censors of a great man make Bacon a sort of universal provider, and think themselves at liberty to enter his study ( or shop) and order three courses and a desert according to their own fancy; and to whip and scold him, and sprinkle their bad marks over his exercises, whenever their order is not duly executed. Of such irreverent and self-sufficient critics Coleridge was thinking when he describes a self-confident critic who "puts on the seven league boots of self-opinon, and strides at once from an illustrator into a supreme judge; and, blind and deaf, fills his three once vial at the Waters of Niagra, and determines at once the greatness of the Cataract to be neither more or less than his three ounce vial has been able to receive."

THE ESSAY OF LOVEIT'S REAL IMPORT

3. Bacon does not entirely ignore the romantic side of love, but he refers it to different treatment.

"The stage," he says, " is more beholding to love than the life of man."

In his Essay he is speaking of a somewhat neglected view of love. If it is predominate it is a "weak passion," it may not govern all the actions of life. Walter Savage Landor expresses much the same idea : 

"Love is a secondary passion in those who love most; a primary in those who love least." (Imag. Conv. Ascham and Lady Jane Grey).

Love, in Bacon's view, is for the privacy of home; if it follows its votary into the street it becomes an enfeebling influence:

" it checks with business; it troubleth men's fortunes, and maketh men that they can no ways be true to their own ends." "Great spirits and great business do keep this weak passion." " It is a strange thing to note the excess of this passion, and how it braves the nature of things by this, that the speaking in a perpetual hyperbole is comely in nothing but love." " He that preferred Helena, quitted the gifts of Juno and Pallas; for whosoever esteemeth too much of amorous affection quitteth both riches and wisdom." "Amare et sapere vix Deo conceditur." "Love is the child of folly. They do best who, if they cannot but admit love, yet make it keep quarter, and server it wholly from their serious affairs and actions of life."

This is not a popular view of love, but it may be true nevertheless, and it may be held by one who is no cynic, not a cold blooded, self-centered, worldly-minded egotist, but a keen observer, who will not suffer his view of the realities of life to be distorted by romance. It is a permisible theory that love is for private, household use; that, like religion, it must enter into its closet and shut the door; that if it intrudes into the market place it is both weak and ridiculous, and hinders the lawful business of the place. This is Bacon's position, stated with his usual epigrammatical terseness, not fenced by such explanations as purblind readers need in order to keep them from stumbling. And this neglected view is exactly what might be expected from a writer who has no relish for conventional platitudes, no room for common-places, and who knows quite well that fair and competent critics will judge him, not from one utterance, but from an impartial and comprehenseive study of his whole life, and of all his writings.

BACON'S PRAISE OF THE WORTHIEST AFFECTION

4. Bacon points to the Drama as the most suitable stage for the portraiture of love; and his scanty reference to it in his prose writings is naturally explained by those who know how magnificently he poured out all the treasures of his heart, his fancy, and his intellect in his dramatic poetry. There is, however, one prose composition, which, occurring in a masque, belongs properly to dramatic literature, in which love is the theme of most eloquent and poetic eulogy. This is to be found, in a mutilated form, in the "Conference of Pleasure," which contains a discourse " in praise ofhe worthiest affection." The speech is too long for quotation, but as this delightful piece is not easily obtainable, I give a sample :

"As for other affections they be but sufferings of nature; they seek ransoms and rescues from that which which is evil, not enjoying a union with that which is good. They seek to expel that which is contrary, not to attract that which is agreeable. Fear and grief,the traitors of nature. Bashfulness,a thraldom to every man's concept and countenance. Pity, a confederacy with the miserable. Desire of revenge, the supplying of a wound. All these endeavour to keep the main stock of nature, to preserve her from loss and diminution. But love is a pure gain and advancement in nature; it is not a good by comparison, but a true good; it is not an ease of pain, but a true purchase of pleasures; and therefore, when our minds are soundest, when they are not, as it were, in sickness and therefore out of taste, but when we be in prosperity, when we want nothing, then is the season, and the opportunity, and the spring of love. And as it springeth not out of ill, so it is not intermixed with ill; it is not like the virtues, which by a steep and ragged way conduct us to a plain, and are hard taskmasters at first, and after give an honourable hire; but the first aspect of love, and all that followeth, is gracious and pleasant."

Let us now see if the Shakespearean treatment of love differs in any essential respect from Bacon's. My contention is, that they are curiously identical, so much so as to supply, on a very extended scale, one of those striking correspondences between two groups of writings, which in their accumulation point irresistibly to identity of authorship.

 

RESTRICTED USE OF LOVE IN SHAKESPEARE

5. One of the most striking features of the Shakespearean drama is the extremely restricted use it makes of love, which is suppose to be the foundation and pivot of dramatic art. The exceeding beauty and attractivenes of the love pictures actually given, blinds us to their rarity: they attract so much interest as almost to absorb the consideration of the reader or spectator, and put other scenes into the shade. Also the charm of these love pictures is so great that we are apt to forget that they are often set in a framework of weakness, confusion, or disorder, that there is a canker of decay in even the loveliest of these flowers.
Apart from this it is to be remarked that in a large proportion of the plays love is either entirely absent or completely subordinate,not the main centre of interest or action. And again, even where some slight love element is introduced, it may be not only very unimportant, but entirely destitute of romance or fascination. Mr. T. W. White, among other critics, notes this fact as very remarkable. He says,

" Shakespeare is almost alone among his contemporaries and successors in frequently rejecting love as the motive of his drama;"

and the conclusion at which Mr. White arrives is, that the poet had a weak animal development!

"Shakespeare, in the selected passages (from Hamlet) to which we have referred, manifests a total insensibility to the gross passion of love. In descriptions of Platonic affection and conventional gallantry he is unsurpassed; but when he essays to be personally tender, his muse becomes tediously perfunctory , as we see in Hamlet." ("Our English Homer," pp. 31, 122).

I quote these passages, not as agreeing with them entirely. Mr. White is often inaccurate, still more them entirely. Mr. White is often inaccurate, still more frequently eccentric and paradoxical, and sometimes, as it seems to me, strangely purblind. But his judgment may be taken as a tolerably accurate representation of the conclusion likely to be formed by any one who fairly fronts the question, and is not misled by early and crude impressions.

If , however, we may briefly run through the plays, taking a swift glance at each, the resemblance between the Shakespearean and the Baconian view of love will become distinct and even startling.

LOVE IN THE HISTORICAL PLAYS

6.First of all, let us look at the Historical Plays. In these love is throughout subordinate, and in some it is entirely absent.
It is absent from John, and Richard II.
In 1Henry IV. it is incidentally introduced in the persons of Hotspur and Lady Percy, and it shows Hotspur so intent on business as almost to neglect his wife, and provoke her reproaches.

O, my good lord, why are you thus alone?
For what offence have I this fortnight been
A banished woman from my Harry's bed?

And then she tells him how she has watched him, awake and asleep, and finds that his mind is occupied with concerns in which she is not permitted to share :

Some heavy business hath my lord in hand,
And I must know it, else he loves me not...
In faith, I'll break thy little finger, Harry,
And if thou wilt not tell me all things true.

But the "mad-headed ape," the "weasel toss'd with such a deal of spleen," "the paraquito," as she with playful irritation calls him, brusquely puts her off with,

Away, you Trifler! Love! I love thee not,
I care not for thee, Kate.

And then, in reply to her pained remonstrance, he replies :

     Come, wilt thou see me ride?
And when I am o' horseback, I will swear
I love thee infinitely. But hark you, Kate,
I must not have you henceforth question me
Whither I go, nor reason whereabout :
Whither I must, I must.
(See 1Henry IV. iii. 40-120)

It is a charming picture of true love on both sides; but the husband has his love in check, and when the wife tries to spy into his business, he gaily thwarts her, being evidently resolved to keep his active life as a warrior and politician entirely unembarrassed by domestic ties.
If anyone looks for love scenes in 2Henry IV., he must find them in company with Doll Tear-sheet, or be content to miss them altogether.
In Henry V. there is a pretty wooing scene between the King and the French Princess. In this wooing, however, there is more policy than passion. The whole transaction turns on considerations of State advantage and Royal convenience. Here is a specimen; it is all in prose:

Before God, Kate, I cannot look greenly nor gasp out my eloquence, nor have I no cunning in protestation; only downright oaths, which I never use till urged, nor never break for urging. ....I speak to thee plain soldier : if thou canst love me for this, take me; if not, to say to thee I shall die, is true; but for thy love, by the Lord, No! yet I love thee too. (see the whole scene in Henry V. V. ii)

There is a good deal of this kind of self-possessed,one may even say, self-centred love-making It is the ideal portrait of a man who "if he cannot but admit love, yet makes it keep quarter." It shows in what way and how far "martial men are given to love. I think it is but as they are given to wine, for perils commonly ask to be paid in pleasures: " a compensation to be duly paid when the business is trasacted.

The play of 1Henry VI. contains the wooing incident, but no love. The wooing is by proxy, and the alliance is entirely dictated by State policy. (See Act V. sc. v.)
There is nothing of the kind in 2 or 3 Henry VI.

In Richard III. love is very sparingly introduced , almost ignored , and when introduced, most curiously blended with hatred and repugnance. At the beginning of the play we come upon a fantastic mockery of courtship. The cynical wooer, for reasons connected soley with self-advancement, manages to change the lady's curses into caresses, and then jestingly exclaims,

Was ever woman in htis humour woo'd?
Was eveer woman in this humour won?
(Richard III. I. ii. 228)

The drama of Henry VIII. shows a royal lover, whose many courtships and espousals, so far from interfering with business, are entirely subservient to State considerations. The love of Queen Katherine is found to be inconsistent with the interests of royalty. The Queen, however, refuses to submit her married rights to such control, and urges them upon a spouse, whose is determined that they shall not "check with his business," or "trouble his fortunes." Her claims are gently, but effectually put aside.
We see then, that throughout the Historical plays love is managed, it never sways. It may be said that the Histories, form the very nature of the case, must show the public side of life, that their one aim is to present past events in a vivid, pictorial way. Consequently, love could not be introduced where the incidents did not supply it. This is only partially true. At any rate it is highly significant that the Shakespearean poet should, to so large an extent, make selection of subjects which accept this limitation. And it is also to be noted, tht every constructor of an historical romance feels himself at liberty to embelish and enhance the attraction of historic truth by additonal touches derived from his own fancy, and as a rule these invented embellishments consist of love scenes. It is, then, not a little remarkable that Shakespeare takes no pains so to select or record his historic facts, that they may bear the freightage of love episodes, created by himself : he does not find it necessary to shape the structure of his dramas, as he assuredly might, so as to heighten their interest by the glow and radiance of passion. In most other hands doubtless love passages would have been added, even if the history had to be strained in order to find place for them.
We find, then, that every one of the love incidents n the historic plays might be taken as cases in point, expressly intended to illustrate the philosophy of love, marriage, and business, as expounded in the Baconian "Essays" : a conclusion, I imagine, which few readers would anticipate.

LOVE IN THE TRAGEDIES

7. The Tragedies, as might be expected, give us some excellent pictures of the Romantic side of love. Here, then, we shall perhaps, find the want of harmony between the "Essays" and the "Plays," on which the critics so vauntingly descant. Let us see if this is really the case.
Troilus and Cressida is certainly not a love play. The puzzle of it, if it was written by a theatrical manager for business purposes, is how such a profound study of moral, social, and political philosophy could have ever been put upon the boards. A love scene is, indeed, the central incident of hte plot; but there is a wanton element in it. There is a startling contrast between exquisite beauty and rapture of the vows, which the lovers utter when they are wooing, and the subsequent infidelity of the lady, who had protested so ardently her eternal constancy. It is an episode of the great drama, and one of weakness and shame. None of the noblest persons in the play have any share in this part of it, nor any love passages of their own. In reading it we are reminded of Bacon's remark,

" You may observe that amongst all the great and worthy persons, whereof the memory remaineth, either ancient or modern, there is not one that hath been transported to the mad degree of love : which shews that great spirits and great business do keep out this weak passion."

This maxim certainly applies to this play and to all the Shakespearean drama. Another of the maxims which has been already quoted, as to love braving the nature of things by its perpetual hyperbole, is exactly reproduced with added cynicism in the following :

Tro. O, let my lady apprehend no fear, in all Cupid's pageant there is no presented no monster.
Cres. Nor nothing monstrous either?
Tro. Nothing, but our undertakings : when we vow to weep seas, live in fire,eat rocks, tame tigers : thinking it harder for our mistress to devise impostion enough than for us to undergo any difficulty imposed. This is the monstrosity in love, lady, that the will is infinite and the execution confined, that the desire is boundless and the act a slave to limit.
Cres. They say, all lovers swear more performance than they are able, and yet reserve an ability that they never perform; vowing more than the perfection of ten, and discharging less than the tenth part of one. They that have the voice of lions, and the act of hares, are they not monsters? (Tro. Cres. III. ii. 71)

In Coriolanus the love element is absent. It is however worthy of remark, that the personal appeal of the women and children of Rome, by which the vengeance of the hero is averted. is spoken by the mother, who has outlived the romance of her younger days, not by the wife. Doubtless history required this; but it did not dictate such a striking contrast as that we find between the strength of the widowed mother, and the feebleness, tameness, almost insipidity of the wedded wife. The widow is self-reliant and masterful; the tender, plastic period of her life has passed; while the wife is timid, shrinking, helpless, incapable of action or of cheerfulness without the stimulus of her husband's presence. During his absence she can only sit at home, musing and mooning, and pining and watching for his return.
Titus Andronicus is a play of the dramatic's earlier time, written in what Count Vitzhum calls the "Marlowe period" of Bacon's life. And in a play of this period, if anywhere, one might expect to see love pictured in its romance and fascination. But it is entirely absent.Or, if present at all, its demonic aspect alone is presented : it is associated with those revolting scenes of blood, and horror, and cruelty, and outrage, which make this play as much a puzzle as Bacon himself, or the Baconian theory. The critics would gladly hand it over to Marlowe, and many of them do so.
But in Romeo and Juliet : surely romantic and passionate which blasts and ruins its victims, and spoils them for the practical "business" of life. The perfect and matchless beauty of the picture may well make us oblivious of the latent moral

"This passion hath his floods in the very time of weakness."

The play is a commentary on Bacon's aphorism

" In life it doth much mischief, sometimes like a siren, sometimes like a Fury" :

both the siren and the Fury appear in the play. The moral is, the fatal consequence of being "transported to the mad degree of love." Friar Lawrence draws the moral :

These violent delights have violent ends,
And in their triumph die; like fire and powder,
Which as they kiss consume : the sweetest honey
Is loathsome in his own deliciousness,
And in the taste confounds the appetite.
Therefore love moderately; long love doth so;
Too swift arrives as tardy as too slow.
(Romeo and Juliet II . vi 9)

Love is shown as " one of those bodies which they call imperfecte mista, which last not, but are speedily dissolved." (Life," III. 94). It is full of paradox :

O heavy lightness! serious vanity!
Misshapen chaos of well-seeming forms!
Feather of lead! bright smoke! cold fire! sick health!
Still-waking sleep, that is not what it is!
(Ibid, I. i. 184)

When Romeo's wooing is interrupted by his banishment, he is ready to destroy himself, and well does he deserve the long lecture on fortitude which Friar Lawrence addresses to him, showing that the passion which possesses him is essentially a "weak passion." These are the scathing terms, which the judicious priest considers appropriate :

Art thou a man? thy form cries out thou art:
Thy tears are womanish; thy wild acts denote
The unreasonable fury of a beast:
Unseemly woman in a seeming man;
Or ill-beseeming beast in seeming both!
Thou hast amaz’d me: by my holy order,
I thought thy disposition better temper’d.
(Romeo & Juliet III. iii. 109)

Fie, fie! thou sham’st thy shape, thy love, thy wit,
Which, like a usurer, abound’st in all,
And usest none in that true use indeed 132
Which should bedeck thy shape, thy love, thy wit.
Thy noble shape is but a form of wax,
Digressing from the valour of a man;
Thy dear love, sworn, but hollow perjury, 136
Killing that love which thou hast vow’d to cherish;
Thy wit, that ornament to shape and love,
Misshapen in the conduct of them both,
Like powder in a skilless soldier’s flask, 140
To set a-fire by thine own ignorance,
And thou dismember’d with thine own defence.
(Ibid. III. iii. 122)

Bacon's indictment against love is accurately reproduced, much augmented and intensified.

In Timon of Athens, the only two female characters introduced are the two mistresses of Alciabes.In the whole play love is absolutely ignored.

In Julius Caesar Portia is an ideal portrait of a "noble wife," a sweet and stately Roman matron, full of devotion to her lord. But Portia complains, in much the same terms as Hotspur's wife, that Brutus carefully shuts her out from all share in his public life. She is kept severely for home use, and may not follow her lord into the halls and marts of civic business. She too tells her husband how she had observed signs of distraction in him :

And when I asked you what the matter was,
You stared upon me with ungentle looks.
(Julius Caesar II. i 241)

The strife between love and business could not be better pictured than in this striking scene between Brutus and Portia.
Brutus is deeply touched by Portia's death, but he hides his emotion, and will not permit even this to weaken him in his public duties.
Julius Caesar is half persuaded by Calpurnia to absent himself from the Senate House, but the sarcasms of Decius Brutus have more power over him than the terrors and entreaties of his wife.
Portia and Calpurnia are the only two female characters in this noble drama, and their power and place exactly correspond with the limitations which Bacon defines as the proper enclosure of love.
Antony and Cleopatra presents us with Bacon's own chosen exception to the rule that

"Great spirits and great business do keep out this weak passion. You must except nevertheless Marcus Antonius, the half-partner of the Empire of Rome."

The Essay of "Love" is the key which unlocks the meaning of the play. The opening lines bring before us a great spirit mastered and ruined by passion :

Nay! but this dotage of our General's
O'erflows the measure: those his goodly eyes
That o'ver the files and musters of the war
Have glowed like plated Mars, now bend, now turn,
The office and devotion of their view
Upon a tawny front.
(Antony & Cleopatra I. i. 1)

We might quote half the play to illustrate the sentiments and cautions of the Essay. In the whole play Bacon's philosophy is speaking articulately, in concrete stage effects. Bacon writes,

"They do best who, if they cannot but admit love, yet make it keep quarter and sever it wholly from their serious affairs and actions of life."

This Antony failed to do, and this accounts for the disaster and ruin, which overtakes the lovers and all who are swayed by them. The Essay and the play fit one another as text and pictorial illustrations.
Macbeth and Lear may be passed over without any other comment than that love is entirely absent : no love instance can be extracted from them. In Lear there is some lawless love, no true love.

In Hamlet love plays a very subordinate but a very significant part. Hamlet and Ophelia are in love with one another; she deeply, he sincerely but moderately. He is a "great spirit," and consequently the mad degree of love does not reach him: he can master his passion and make it "keep quarter." The great business to which he has devoted himself is checked by many influences,by "bestial oblivion, or some craven scruple of thinking too precisely on the event," by his habit of deliberation and procrastination; but love interposes no obstacle. The very opposite is the case with Ophelia; love, and its issue in disappointment, overpowers her reason and her will, and leads to the self-slaughter, to which Hamlet also was tempted, but was strong enough to resist. Ophelia's ruin is the result of this "weak passion." The Queen is the text for many of Hamlet's reproaches of womankind :

"Frailty, thy name is woman; " "Brief as woman's tears."

And Hamlet's opinions about love are the same as Bacon's , but expressed with even greater frankness and cynicism :

 " If thou wilt needs marry, marry a fool; for wise men know well enough what monsters you make of them;"

and we know from the discourse in Troilus and Cressida what the poet was thinking of when he spoke of monsters, and how exactly this is reflected in Bacon's Essay.

In Othello Bacon's text is almost quoted, and is very vividly illustrated. Both the Siren and the Fury appear, an with the Fury its consequent mischief. Othello's love is moderate and self-poised : there is no madness in it; but it is the basis of the jealousy and rage excited byt eh wily suggestions of Iago. Here is the one "weak" point in his nature, through which he becomes plastic to the "tempering" of his Ancient. In everything else he is unassailable : as a lover he is feeble and flexible, and this it is which brings ruin and death, first to Desdemona, and then to himself. Here again Bacon's philosophy is most accurately reflected. Othello is appointed to high military command just at the time of his marriage, and he will not for a moment permit his duty to the State to be interrupted or damaged by the newly contracted ties. His resolve is almost textually a reproduction of Bacon's Essay :

And heaven defend your good souls that you think
I will your serious and great business scant
For she is with me. No, when light-wing’d toys
Of feather’d Cupid seel with wanton dulness
My speculative and offic’d instruments,
That my disports corrupt and taint my business,
Let housewives make a skillet of my helm,
And all indign and base adversities
Make head against my estimation!

And to Desdemona he says :

Come, Desdemona; I have but an hour
Of love, of worldly matters and direction,
To spend with thee: we must obey the time.

In Cymbeline love is not ignored, and it is the only one of the tragedies, in which the sentiments of the Essay of "Love" are not expressly reflected. But even here there is nothing inconsistent with the Essay. The love of Imogen is a perfect picture of womanly affection and constancy : the woman's side is excellently given. But the husband's side is lightly and imperfectly sketched. His heroism, his fortitude, his intellectual power and culture, his trust in his wife's goodness, his agony on finding as he supposes that she is unfaithful, all these are evident; he appears rarely and fitfully on the scene, and has no very important relation to the action of the drama. The love element in the play is quite subordinate; the real dramatic business is independent of it.

In Pericles love is associated either with romantic adventure or hideous pollution. There is nothing attractive or sacred in it; it is rather a disturbing than an essential element. It is not omitted, but one could almost wish it had been.
So far, then, in the ten histories and twelve tragedies, Bacon's view of love is not only never contradicted, but it is uniformly (Cymbeline excepted) reflected , and that with singular, and sometimes almost textual accuracy.
Perhaps the comedies will supply us with the contrast, which we are so confidently assured exists, between Bacon's conception of love and Shakespeare's pictures of it. Let us open them and see.

LOVE IN THE COMEDIES

8. The Tempest gives us an enchanting picture of the love between Ferdinand and Miranda, and on this incident much of the action of the drama turns. But here love and the work of life are absolutely detached; and what may be the poet's idea of the relation between them cannot possibly be surmised from the pure fantasy of this exquisite vision.
The Two Gentlemen of Verona supplies up with a most genuinely Baconian view of love; it is represented as a source of weakness and folly, and spoils the votary for the true pursuits of life.

To be in love, where scorn is bought with groans;
Coy looks with hear-sore sighs; one fading moment's mirth
With twenty watchful, weary, tedious nights;
If haply won, perhaps a hapless gain;
If lost, why ten a grievous labour won;
However but a folly bought with wit,
Or else a wit by folly vanquished.
........As the most forward bud
Is eaten by the canker ere it blow,
Even so by love the young and tender wit
Is turned to folly.

And Proteus, as he takes farewell of Valentine, who goes,

To see the wonders of the world abroad,

while he remains "living dully sluggardized at home," thus moralizes,

Pro. He after honour hunts, I after love:
He leaves his friends to dignify them more;
I leave myself, my friends and all, for love.
Thou, Julia, thou hast metamorphos’d me;
Made me neglect my studies, lose my time,
War with good counsel, set the world at nought;
Made wit with musing weak, heart sick with thought.
*

(Two Gentl. I . sc. I. 1-69)

*(En passant, observe the interesting anticipation of the leading motif of Hamlet in the last two lines. the same infirmities, as incident to studious pursuits, are alluded to in Bacon's Advancement of Learning, I. ii. i and 4.)

Julia's own impressions are not very different :

Fie, fie! how wayward is this foolish love
That, like a testy babe, will scratch the nurse
And presently all humbled kiss the rod!
(Ibid. I.ii. 57)

The special marks of a lover, enumerated by Speed, are every one of them tokens of weakness, or of unnatural transformation.

"You have learned, like Sir Proteus, to wreathe your arms, like a malcontent; to relish a love-song, like a robin-red-breast; to walk alone, like one that had the pestilence; to sigh, like a schoolboy that hath lost his A.B.C.; to weep, like a young wench that hath buried her grandam; to fast, like one that takes diet; to watch, like one that fears robbing; to speak puling, like a beggar at Hallowamas. You were wont, when you laughed, to crow like a cock; when you walked, to walk like one of the lions; when you fasted, it was presently after dinner; when you looked sadly it was for want of money; and now you are metamorphosed witha mistress, that, when I look on you I can hardly think you my master." (Ibid II. i. 18)

The metamorphosis, thus referred to, is the same condition that Bacon describes as "transported to the mad degree of love." The play does not omit to speak of the "blindness," and "folly" of love. And the "perpetual hyperbole" of the lover provokes the exclamation,

Why, Valentine, what braggardism is this?
(Ibid, II. iv. 164)

Nothing could possibly match the Essay better than the poetry of this play.
There is little genuine love in the Merry Wives. The love-making of Falstaff, although exquisitively comic, is worthy of the verdict he himself pronounces upon it,

I do begin to perceive that I am made an ass." 

The one genuine love scene is between two of the weakest and most shadowy personages in the drama Fenton and Ann Page; and this is evidently intended as a foil to the principal action of the play, in which love is simply a matter of mockery and intrigue.In this play love is a jest, it is knavery caught in its own snare. Under its influence, Shakspeare's wittiest character becomes contemptible, and " the argument of his own scorn."

Measure for Measure has no love scene, properly so-called. The love element is essentially present, but it is also entirely subordinate. For, mark its function, to create the situations out of which trouble, danger, cowardice, humiliation or disgrace arise to its principal subjects, and dishonour, crime and misgovernment to the ruler, Angelo. Love is throughout a disturbing and enfeebling influence, and the chief business of the play is to extricate its best characters from the embarrassments into which love has plunged them. Here, however, we find, very distinctly expressed, the fact that "great spirits and great business do keep out this weak passion." For the Duke is the most strong in judgment and sound in heart of any of the characters; he it is who may be taken as the earthly Providence of the piece; he, if any one, is the mouth-piece of the poet himself. The Duke retires from public life, and in his seclusion Friar Thomas suspects that some love sentiment may be the motive for his withdrawal, and for the disguise which he assumes. This idea is very promptly, and even peremptorily, repudiated, and in truly Baconian terms :

No, holy father, throw away that thought;
Believe not that the dribbling dart of love
Can pierce a complete bosom.
(Measure for Measure, I. iii. i)

The Duke is glancing at the law so clearly expounded by Bacon : 

" It seems, though rarely, that love can find entrance, not only in an open heart, but in a heart well fortified, if watch be not well kept."

The Comedy of Errors is one of the plays from which love is almost entirely excluded. There is a wooing scene, but it is one of the "errors" of the comedy, and the issue of it is wisely expressed by the rejected suitor. The attractions of a fair face may make its victim untrue to his own ends. The fair lady

Hath almost made me traitor to myself:
But, lest myself be guilty to self-wrong,
I'll stop mine ears against the mermaid's song.
(Comedy of Errors III. ii 167)

In Much Ado love is present, supplying matter for tragedy in Hero's case, and for comedy in Beatrice's. Claudio's is a sentiment, which lightly comes and lightly goes; he only admits it when, on his return from military service, "war thoughts have left their places vacant; " and then he allows his wooing to be done by proxy. The lovers, in all cases, are either the victims or the sport of illusion. The love of Benedict and Beatrice is the outcome of a practical joke, and the success is matter for mirth. With Hero and Claudio, their love, is for a time blasted by a trick; and their resulting misfortune gives occassion for sympathy with that; but their love is kept in the background; there are no love passages to show its quality. Benedict expresses the Baconian view of love with amusing frankness :

I do much wonder that one man, seeing how much another man is a fool when he dedicates his behaviour to love, will, after that he hath laughed at such shallow follies in others, become the argument of his own scorn, by falling in love : and such a man is Claudio.......

and then he describes the alteration which he sees in Claudio in consequence.

May I be so converted, and see with these eyes? I cannot tell: I think not. I will not be sworn that love may transform me to an oyster : but I'll take my oath on it, till he have made an oyster of me, he shall never make me such a fool. ( Ibid, II. iii.7)

Love's Labour Lost gives a truly Baconian view of love, as the disturbing element in public life, the foe at once to study and to business. The King and his lords wish to make their Court a little Academe, and devote themselves to study; they resolve to exclude from their Court all women, so as to run no risk of being ensnared by passion and sentiment. But in spite of their precautions, love finds an entrance, and then of necessity folly comes; they all try to conceal their passion, and are much abashed when discovered. One after another they are betrayed, and then Biron, the most Baconian of all the speakers, thus comments on the situation :

O! what a scene of foolery have I seen,
Of sighs, of groans, of sorrow, and of teen;
O me! with what strict patience have I sat,
To see a king transformed to a gnat; 104
To see great Hercules whipping a gig,
And profound Solomon to tune a jig,
And Nestor play at push-pin with the boys,
And critic Timon laugh at idle toys!

(LLL. IV.iii. 163)

There is plenty more of this kind of pleasantry, and teh same note of folly and confusion is still found, even when the news of the death of the King of France banishes all idle mirth. Still Biron moralises in truly Baconian language :

For your fair sakes have we neglected time,
Play’d foul play with our oaths. Your beauty, ladies, 740
Hath much deform’d us, fashioning our humours
Even to the opposed end of our intents.

(LLL V. ii. 765)

Of course , the poet who writes thus might have written "Love, if it check with business, troubleth men's fortunes, and maketh men that they can no ways be true to their own ends."

Therefore ladies,
Our love being yours; the error that love makes
Is likewise yours; we to ourselves prove false,
By being once false, for ever to be true
To those that make us both, fair ladies, you.
(Ibid, V. ii. 780)

Here then is Bacon's most distressing presentation of love, reproduced with cynical frankness in Shakespeare.
In Midsummer Night's Dream, again, love is a toy the sport of imps, summoned or dismissed by charms and magic arts. All the lovers are more or less bewitched the stateliest of them bestows her blandishments on the head of an ass, they all surrender their individuality and become puppets, whose strings are pulled by fairies. Here also we see love and madness coupled together, because the subjects of both have "seething brains," and "shaping fantasies," that apprehend

More than cool reason ever comprehends,

The madman "sees more devils than vast hell can hold," while the lovers' delusions, though less infernal are "all as frantic," for he "sees Helen's beauty in a brow of Egypt." The passion of Titania for the clown Bottom is a parable, and carries its moral. Those who censure Bacon should have something to say about the cynicism of the poet who allows Titania to give her heart to Bottom.

The Midsummer Night's Dream is full of Baconian sentiments about love. Can anything be more typical than the following. Bottom speaks to Titania :

Reason and love keep little company now-a-days : the more the pity that some honest neighbours will not make them friends(MND. III. i . 146)

On this play Professor Brandes makes the following significant comment

"It is a lightly flowing, sportive, lyrical fantasy, dealing with love as a dream, a fever, an allusion, an infatuation, and making merry especially with the irrational nature of the instinct..... Shakespeare is far from regarding love as an expression of human reason. Throughout his works, indeed, it is only by way of exception that he makes reason the determining factor in human conduct. The germs of a whole philosophy of life are latent in the wayward love scenes of a Midsummer Night's Dream ."

And it is not a little obvious to add that this philosophy of life is the philosophy of Bacon's Essay.

The Merchant of Venice contains some of the most exquisite love scenes ever invented. But even here, love is ot he main, nor the most attractive business of the play, and the entrance into love is either blind or wilful, and in all cases quite unheroic. Portia's choice in love is determined by lottery. Nerissa's is a shadow of Portia's ; Jessica's is a runaway match, in which there is a good deal of calculated self-seeking; her love makes her a rebellious and undutiful child, an apostate to her faith, and a pilferer. Here also

Love is blind, and lovers cannot see
The pretty follies that themselves commit.
(Mer. of Venice II. vi. 36)

And the lady , Portia whose love is the most pure and exalted, does not forget how nearly allied are love and weakness, especially if love is ardent, and does not "keep quarter:"

O love, be moderate, allay thy ecstasy,
In measure rein thy joy; scant this excess;
I feel too much thy blessing; make it less
For fear I sufeit.
(Ibid III. ii. 111)

 The love scenes in As You Like It are exquisite pictures of either rustic simplicity or Arcadian sport. The rustic lovers, "natives of the place," do not show love in any ennobling light. The maiden is cruel and scornful; the swain is abject and pitiful,but the love is on the abject and pitiful side. The courtly lovers, who woe in the forest, present love as a comedy; the lady masquerading as a boy, and playing with the weakness of her lover, who was quite willing to be manipulated as a marionette, if he may thus indulge his fancy. Touchstone's love is absolutely unreal and fantastic. All the love incidents illustrate the sentiment which is the keynote of all this part of the drama.

How many actions most ridiculous
Hast thou been drawn to by thy fantasy:

which Touchstone repeats in other phrasing:

We that are true lovers run into strange capers: but as all is mortal in nature, so is all nature in love mortal in folly.

And Rosalind, hearing such a slander on her own conditon, is yet forced to admit that there is some truth in the impeachment,

Thou speakest wiser than thou art ware of. (See II. 26-60).

This play is exceptionally affluent in descriptions of the manner, and behaviour, and appearance of lovers. The characteristic sings are thus described :

A lean cheek, a blue eye and sunken; an unquestionable spirit [i.e. unscociable, not inclined to talk], a beard neglected; ungarted hose; th shoe untied; and everything about you demonstrating a careless desolation. (As You Like It, III. ii. 392)

"Love is merely a madness," and deserves its ordinary treatment, viz. a dark house and a whip. Rosalind desribes the sort of behaviour she put on when she was acting the part of a lover;

At which time would I , being a moonish youth, grieve, be effeminate, changeable, longing and liking, proud, fantastical, apish, shallow, inconstant,full of tears, full of smiles, for every passion somethng, and for no passion truly anything.......would now like him, now loathe him, then entertain him, then forswear him, now weep for him, then spit at him, that I drave my suitor from his mad humour of love to a living humour of madness. (Ib. III. ii 420)

Nothing can be more exquisitely pictured; every scene is enchanting, but it is folly, weakness, self- immolation that is depicted in the love passages of this delicious framework of Arcadian romance and simplicity. As in the "Dream," the natural comment of the sportive outsider is, "Lord, what fools these mortals be."

In the Taming of the Shrew there is no real love making. All the wooing is based on self-interest, none on genuine attraction. There is much wooing and some marrying, but no love. The only serious moral is that spoken by Katherine, after she is tamed:

Now I see our lances are but straws,
Our strength as weak, our weakness past compare.
(Taming of the Shrew V. ii. 173)

In All's Well, no male character submits to the assault of the tender passion, except in gross forms. Bertram resists its approach, and treats it with scorn. Helena's love is strong and faithful, but folly and weakness attend it. Her love is given to an inaccessible and unresponsive idol,

I know I love in vain, strive against hope;
Yet in this captious and intenible sieve
I still pour in the waters of my love.
(All's Well, I . iii. 207)

She is content to bring her husband to her arms by a loathsome trick, pandering to his vices, and winning him in spite of himself. The play is full of love; but, with the doubtful exception of Helena, the ennobling , invigorating side of love is entirely absent.
Twelfth Night shows us a a royal suitor making futile love by proxy, and at last content to wed, not the lady of his choice, but the maiden who had fallen into presumably hopeless love with him, whom he had employed as a page, and known only in his disguise. A similar game of cross purposes unites Olivia and Sebastian, neither of whom loved the other, but made their love contract under an illusion of mistaken identity. Love in Viola is most attractive, full of poetry and charm, and she is the only one whose passion is naturally requited. In all the other cases the love passages are fantastic and irrational, and are patched and mended by the evolution of fortunate blunders. Even here the Baconian estimate of love is not omitted. The Duke says to Viola, his supposed page-boy:

Come hither, boy: if ever thou shalt love,
In the sweet pangs of it, remember me.
For such as I am, all true lovers are,
Unstaid and skittish in all motions else,
Save in the constant image of the creature
That is belov'd.
(Twelfth Night, II. iv. 14)

But of all the plays (except Othello and Antony and Cleopatra), it is in the Winter's Tale that we find Bacon's philosophy of love and business embodied in the most striking dramatic effects. Prince Florizel is a typical instance of the "mad degree of love" : his passion "checks with business," and makes him "untrue to his own ends." That he may possess Perdita, whom he only knows as a low-born peasant girl, he is ready to give up his princely birthright, surrender his succession to the crown, brave the anger of his father, and bring danger not only on himself, but on the maiden of his choice and all her supposed relations. Nothing can be more reckless and irrational than his love vows :

Or I'll be thine, my fair,
Or not my father's . For I cannot be
Mine own, nor anything to any, if
I be not thine. To this I am most constant,
Though destiny say, No!

(Ibid, IV. 42)

In reply to his father's threats he exclaims :

From my succession wipe me, father, I
am heir to my affection.
Camillo Be advised!
Flor I am, and by my fancy: if my reason
Will thereto be obedient; I have reason;
If not, my senses, better be pleased with madness,
Do bid it welcome
(Ibid 491)

Here is clearly an example illustrating Bacon's keen remark :

" He that preferred Helena, quitted the gifts of Juno and Pallas: for whoever esteemeth too much of amorous affection, quitteth both riches and honour."

The fantastic apology for the wooing of a peasant by a prince, presents us with a very Baconian picture of love and its precedents of folly :

Apprehend
Nothing but jollity. The gods themselves,
Humbling their deities to love, have taken
The shapes of beasts upon them. Jupiter
Became a bull, and bellow'd; the green Neptune
A ram, and bleated : and the fire-robed god,
Golden Apollo, a poor humble swain,
As I seem now.
(Ibid, IV. iv. 24)

So then we find Shakespeare comparing his lovers to such curious cattle as divinities transformed to bellowing bulls, or bleating rams, or humble swains. Bacon could not belittle them more effectually.

LOVE ALWAYS SUBORDINATE IN SHAKESPEARE

9. This hasty glance over the entire Shakespearean drama fully confirms the opinion of many critics, that in Shakespeare, more than in any other dramatist, love and passion are subordinate; they are rarely, if ever, the leading motive of the play. And they bring before us the unexpected conclusion that what is condemned as cynical or hard in Bacon is reflected with singular exactness in nearly all the Shakespearean plays, in many cases with almost verbal accuracy. Evidently the poet was not primarily occupied with rhapsodies of sentiment or passion: his chief aim is to embody in life-like forms the deepest results of his moral, social and political studies. In this respect the Poet and the Essayist are absolutely alike. Shakespeare, like Bacon, is an ethical teacher, a moralist, a philosopher, a statesman, devoted to the largest issues of public life,full of world embracing, statesmanlike wisdom, familiar with all sides of Court life and politics, and to these aims all his music, his rhetoric, his fancy are subordinated. So much is this the case, that about half of his plays are never put on the boards, and probably were never attended for the theatre, being quite unsuitable for scenic effect. It is surely a most significant fact, that the greatest of all dramatists has written so large a proportion of plays which must be valued, not for their scenic merits, but for quite other reasons. Troilus and Cressida, and Timon, for instance could not have been written by stage manager, making copy for his boards, looking chiefly, or in any way, at the market value of his poetical inventions. Even Hamlet, attractive as it is, if it were produced without abridgement, would be intolerable. Shakespeare was evidently more a philosophical teacher than a caterer for popular amusement. If he had been, he would have used love and passion, with its romance, much more freely, and made them much more prominent. We should not find that in about thirteen of the thirty-seven plays love is almost or entirely absent, and that in all the rest Bacon's view of love is clearly reflected. If we run over the list, and pick out those plays whichare more less suitable for the stage, and are actually produced, we shall find that only about twenty out of the thirty-seven still hold the boards, and of these, seven or eight are rarely given, even by Shakespeare societies, which often select for representation those plays which are never produced under professional auspices. The plays which one has a chance of seeing on the boards are Henry IV (rarely), Henry V., Richard III, Henry VIII, Coriolanus, Julius Caesar, Macbeth, Tempest, Hamlet, Lear, Othello, Merry Wives, Much Ado, Merchant of Venice, As You Like It, Midsummer Night's Dream, Twelfth Night, Winter's Tale, and Romeo and Juliet. Of these, only the last five is love very prominent. In the rest we go to the theatre to laugh at or with Falstaff, to see Hotspur's high-bred impetuosity, the moral contrasts of Prince Hal, the audacity of Richard's villany, the sorrows and visions of Queen Catherine, the grandeur and abasement of Wolsey, the patrician pride and insolence of Coriolanus, the eloquence of Mark Antony, the headlong career of Macbeth, the enchantments of Prospero, the musings of Hamlet, the agony of Lear, the devilry of Iago, the torture of Othello and Desdemona, the merry raillery of Benedict and Beatrice, the bucolic dignity of Dogberry, the ferocity of Shylock, the fascination of Portia and her pretty impersonations of bad law and poetic justice, the cynical moralizing of Jacques, the jests of Touchstone, the wit and tenderness of Rosalind, and so forth. Almost invariably love keeps quarter, it retires into the background, and the main business of the play is independent of it. This is exactly what might be expected from the poet-philosopher, who declares that love limits the range of mortal vision, and is "a very narrow contemplation" (Antitheta 36) and yet can, per contra, say also,

" There is nothing that better regulates the mind than the authority of some powerful passion."
LOVE IN THE MINOR POEMS

10. The Minor Poems tell the same story. Lucrece is a commentary on Bacon's aphorism,
"Martial men are given to love, " taking its pleasures as payment for perils ; for Lucrece, in her eloquent pleadings with Tarquin, flings at him the reproach

A martial man to be soft fancy's slave!
(Lucrece I. 200)

and the whole poem, in it's various phases and sections, illustrates Bacon's wise summary of the whole of his essay :

"Nuptial love maketh mankind; friendly love perfecteth it; but wanton love corrupteth and embaseth it."

Collatine, Brutus, and Tarquin represent these three types, and Lucrece herself touches all these aspects of love.

Venus and Adonis is full of exquisite pictures of passion and love conflict; but they are assuredly not charged with any lofty ideal or exalted morality, the sentiment of love is presented romantically, but not with any high and ennobling features. The real moral of the poem is to be found in the closing stanzas, in which the Baconian view of love is again reproduced with almost audacious frankness. The goddess, in her grief at the death of Adonis, breaks out into melancholy moralizing and poetic prophecy: it is worth while quoting the lines as a poetic prophecy: it is worth while quoting the lines as a specimen of what Vernon Lee calls "Baconian thoughts in Baconian language":

Since thou art dead, lo! here I prophesy, 1135
Sorrow on love hereafter shall attend:
It shall be waited on with jealousy,
Find sweet beginning, but unsavoury end;
Ne’er settled equally, but high or low;
That all love’s pleasure shall not match his woe. 1140

‘It shall be fickle, false, and full of fraud,
Bud and be blasted in a breathing-while;
The bottom poison, and the top o’erstraw’d
With sweets that shall the truest sight beguile:
The strongest body shall it make most weak,
Strike the wise dumb and teach the fool to speak.

‘It shall be sparing and too full of riot,
Teaching decrepit age to tread the measures;
The staring ruffian shall it keep in quiet,
Pluck down the rich, enrich the poor with treasures;
It shall be raging mad, and silly mild,
Make the young old, the old become a child.

‘It shall suspect where is no cause of fear;
It shall not fear where it should most mistrust;
It shall be merciful, and too severe,
And most deceiving when it seems most just;
Perverse it shall be, where it shows most toward,
Put fear to valour, courage to the coward.

‘It shall be cause of war and dire events,
And set dissension ’twixt the son and sire; 1160
Subject and servile to all discontents,
As dry combustious matter is to fire:
Sith in his prime Death doth my love destroy,
They that love best their love shall not enjoy.’

LOVE LYRICS

If we turn to the remaining poems, we find the same pictures of love blended with folly or disaster. This is the theme of of the Lover's Complaint and of the little poem, "Beauty is but a vain and doubtful good." But to find out all the lyrical utterances of the Shakespearean poet we must search the Elizabethan Song Books. There is a large collection of these in "England's Helicon." I have not the least doubt that this collection was made by Bacon; his royal and antithetic style is unmistakable in the prose dedications and prefaces; and his Shakespeare mantle is spread ove quite a large number of the poems. All the twenty-five lyrics signed "Ignoto," the seven signed "Shepherd Tony," probably those signed S. E. D., A. W., and H.S. are Shakesperean. It would be foreign to my present topic to pursue this subject further; I venture, however, to commend them to all who delight in the lyric music and matchless English of Shakespeare. The collection is indeed priceless. I will quote one to show how Bacon's and Shakespeare's picture of loveits association with folly and disasteris reproduced in these poems. It is called An Invective against Love. The exquisitely articulated structure of the poem, the perpetual antithesis, th metaphors and the sentiment most charactersitic of Shakespeare, the rich and abundant thought, the crystaline clearness and felicity of every phrase, point unmistakably to the true author: as Gerald Massey found in another typical instance (see 2nd edition of his book on the Sonnets, p.459; but see fulller comments in the 1st edition, p. 465). The poem now to be quoted is attributed to "Ignoto" in the Prefatory Table: but in Davidson's "Rhapsody" it is attributed to A.W. (Bullen). Evidently the authorship is a very open question. The metre is the same as that of Venus and Adonis, and the versification resembles that poem in quite a remarkable way.

All is not gold tht shineth bright in show;
Nor every flower so good as fair to sight:
The deepest streams above do calmest flow,
And strongest poisons oft the taste delight :
The pleasant bait doth hide the harmful hook,
And false deceit can lend a friendly look.

Love is the gold whose outward hue doth pass,
Whose first beginnings goodly promise make
Of pleasures fair and fresh as summer grass,
Which neither sun can parch nor wind can shake;
But when the mould should in the fire be tried,
The gold is gone, the dross doth still abide.

Beauty the flower so fresh, so fair, so gay,
So sweet to smell, so soft to touch and taste,
As seems it should endure, by right, for aye,
And never be with any storm defaced:
But when the baleful southern wind doth blow,
Gone is the glory which it erst did show.

Love is the stream whose waves so calmly flow,
As might entice men's minds to wade therein;
Love is the poison mix'd with sugar so,
As might by outward sweetness liking win;
But as the deep o'erflowing stops thy breath,
So poison once received brings certain death.

Love is the bait whose taste the fish deceives,
And makes them swallow down the choking hook,
Love is the face whose fairness judgment reaves,
And makes thee trust a false and feigned look:
But as the hook foolish fish doth kill,
So flattering looks the lover's life doth spill.

CONCLUSIONS

12. To sum up: after producing the evidence, I conclude that the objection to the Baconian theory derived from Bacon's treatment of love, is not only not sustained by detailed examination, but the logical bearing of the comparison is exactly the reverse of that which is claimed for it. The Shakespearean view of love, so far from conflicting with the Baconian, is curiously, and most significantly identical with it. So remarkably is this the case, that the parallel between them adds new force to our contention that Bacon was the real author of Shakespeare. It is admitted that Bacon's treatment of love is something startling and unexpected, something which, in some respects, even his admirers would wish a little softened or modified, or at least qualified by contrasting lights or supplementary considerations. Perhaps no one can accept it without some distaste and resistance. Love is so enthroned in our hearts' belief and is, in fact, so essentially Divine in its nature and origin that we are unprepared for the relentless judgment which forbids its intrusion into public life, and requires of it to keep rigorous quarter in the seclusion of privacy. Yet this view is textually reproduced in Shakespeare. The poetry, when it is translated into didactic forms, teaches precisely the same lessons as the prose.

THE AETHIOPE

13. As an additonal confirmation of the identity of the two we may point to a passage in the "New Atlantis", where the Spirit of Fornication "appeared as a little foul ugly AEthiope." In no other sense is this word ever used in Shakespeare. Proteus, when he is tired of Julia, and has transferred his passion to Sylvia, says,

And Sylvia, witness heaven that made her fair,
Shows Julia but a swarthy Ethiope.
(Two Gentlemen of Verona II. vi. 25)

Rosalind in her gay mockery of a rustic love letter speaks of

AEthiope words, blacker in their effect
Than in their countenance.
(As You Like It IV. iii. 35)

In Much Ado , Claudio expresses his willingness to marry Antonio's daughter, to replace Hero, supposed to be dead: and he thus expresses his resolve

I'll hold my my mind were she an AEthiope
(Ibid,V. iv.38)

and Lysander spurns Hermia with the words,

Away! you AEthiope.
(Midsummer Night's Dream III. ii. 257)

Scorn and disgust for some hated woman is the invariable application of this word in Shakespeare as in the "New Atlantis."

ASPECTS THAT PROCURE LOVE:
LOVE ENGENDERED IN THE EYE

14. It is not a little curious that Shakespeare very often speaks of fancy, or love, as "engendered in the eyes, with gazing fed." (Merchant of Venice III. ii. 67). This not a mere poetic fancy, it is stated by Bacon as a scientific fact.

"The affections no doubt do make the spirits more powerful and active; and especially those affections which draw the spirits into the eyes; which are two, love and envy, which is called oculus malus......and this is observed likewise, that the aspects that procure love,are not gazings, but sudden glances and dartings of the eye."(Sylva Sylvarum 944)

This shows us that the phrase quoted from the Merchant of Venice means that love is not only engendered by gazing, but fed by it after it has been engendered by a flash from the eye. This theory is expounded,with much amplification and abundant citation of classic authorities, in Burton's "Anatomy" (III. ii. 2, 2). The same pyschologic theory is implied in Olivia's self-analysis of the sudden impulse by which her love to Viola has arisen :

Even so quickly may we catch the plague!
Methinks I feel this youth's perfections
With an invisilble and subtle stealth
To creep in at mine eyes.
(Twelfth Night, I .v 314)

So Cymbeline, conceiving a sudden attachment to the disguised Imogen, says

Boy,
Thou hast looked thyself into my grace,
And art mine own.
(Cymbeline V. v. 93)

The two notes of sudden creation, and the origin in the eye are to be observed in all these passages, as in the Sylva Sylvarum. The same idea is implied when Antipholus of Syracuse, professing himself in love, "not made, but mated," is told by Luciana,

It is a fault that springeth from your eye.
(Comedy of Errors III ii. 55)

The "affections which draw the spirits into the eyes" are described in detail, in Love's Labour's Lost II. i. 234-247 :

Why, all his behaviors did make their retire
To the court of his eye, peeping thorough desire:
His heart, like an agate, with your print impress'd,
Proud with his form, in his eye pride express'd:
His tongue, all impatient to speak, and not see,
Did stumble with haste in his eyesight to be;
All senses to that sense did make their repair
To feel only looking on fairest of fair:
Methought all his senses were lock'd in his eye,
As jewels in crystal for some prince to buy.

The same idea is expressed by Juliet:

I'll look to love, if looking liking move;
But no more deep will I endart mine eye
Than your consent gives strength to make it fly.
(Romeo & Juliet I iii.97)

Mr. Neil's note on this passage is as follows : "In the Nichomachean Ethics, Book IX., chapter x., Aristotle says that, ' Good will is conceived instantaneoulsy,' that 'Good will is the prelude to friendship exactly as the pleasure of the eye is the prelude to love,' and Shakespeare has put this opinion into verse when he says of Fancy, as love,

It is engendered in the eyes,
With gazing fed.
(Merhant Venice III. ii. 67)

This agrees with Plato's suggestion in the Cratylus, that love, is derived from streaming into, or influx." Here is anothe instance in which the poet , with his "small Latin and less Greek," shows intimate acquaintance with some of the most subtle and recondite teachings of Plato and Aristotle.
All these passages, with many others, clearly echo Bacon's Promus Note (1137),equally applicable to poetry and philosophy.

"The eye is the gate of affection, but the ear of understanding,"

i.e. when any affection takes possession of the spirit, it enters into possession by the avenue of the eye. It is a very subtle notion. Both in the scientific statement and in the poetry love is said to spring from the eye, not merely of the object, but of the subject. Burton says that "Balthazar Castillo calls the eyes.... the lamps of love," so that in the words of Troilus we may detect the Baconian theory of love, and put a more definite interpretation upon them :

To feed for aye her lamps and flames of love.
(Tro. Cressida. III. ii. 167)

These lamps and flames are the eyes, which are to be fed by gazing on the appropriate object.
Marlowe's Hero and Leander gives expression to the same philosophy. Hero is at the alter of Venus :

There Hero, sacrificing turtles' blood,
Vailed to the ground, veiling her eyelids close;
And modestly they opened as she rose :
Thence flew love's arrow, with the golden head,
And thus Leander was enamoured.
(Hero and Leander I. 158)

The eye thus both gives and receives the dart.

FOLLY AND LOVE CONNECTED GENERALLY

15.As a corollary to this discussion of Bacon's Essay of "Love" it is important to observe that his view of love as essentially blended with folly is but part of a larger philosophy, in which the same conjunction of folly with all strong emotion or enthusiasm is assumed as a metaphysical axiom, a law of pyschology. That love in all its departments is blind is a maxim constantly applied, both in the poetry and the prose. The detailed interpretation of the classical attributes of Cupid in Midsummer Night's Dream, and elsewhere, might add another chapter to Bacon's "Wisdom of the Ancients." And it is evident, that what is said of love, may be said of rapture generally.
Helena speaks :

He will not know what all but he do know:
And as he errs, doting on Hermia's eyes,
So I, admiring of his qualities:
Things base and vile, folding no quantity,
Love can transpose to form and dignity:
Love looks not with the eyes, but with the mind;
And therefore is wing'd Cupid painted blind:
Nor hath Love's mind of any judgement taste;
Wings and no eyes figure unheedy haste:
And therefore is Love said to be a child,
Because in choice he is so oft beguiled.
As waggish boys in game themselves forswear,
So the boy Love is perjured every where:

(Midsummer's Night's Dream I. i 220)

 Now Bacon links love and folly in a very extensive way, and very curiously. In the Promus we find this singular bit of antique French, "Un amoureux fait tonjours quelque folagne"(1352) meaning, I presume, one who is in love is always doing something ridiculous. And Bacon, with his wonted habit of giving a large amplification and application to particulars, symbolic or didactic, applies this principle to the love which is expressed by any kind of enthusiasm. Thus he finds in this maxim a fantastic apology for his eagerness in giving advice when it was not asked : He sends his counsels and suggestions, he hopes, "without committing any absurdity:"

"But if it seem any error for me thus to intromit myself, I pray your Lordship believe that I ever loved her Majesty and State, and now love yourself : and there is never any vehement love without some absurdity; as the Spaniard well saith, Desuario con la calentura" ("Life," III. 46)

Later in life he makes the same apology to the Prince when he sent to him his "Considerations touching a War with Spain" :

"Hoping that at least you will discern the strength of my affection through the weakness of my abilities. For the Spaniard hath a good proverb, Desuario siempre con la calentura: there is no heat of affection but is joined with some idleness of brain" (Ibid VII. 470)

And in his discourse, addressed to the King,on plantation in Ireland (January 1st, 1608-9), he hopes that his Majesty " will through the weakness of my ability discern the strength of my affection" (Ibid. IV. 117)

The same sentiment is connected with the proverb Amare et sapere vix deo conceditur. Bacon in his prose nowhere quotes this proverb completely, only partially. But when it is translated into Shakespearean verse, it is given entire:

But you are wise;
Or else you love not; for to be wise and love
Exceeds man's might; that dwells with gods above.
(Trol. Cressida III. ii. 162)

In the Essay of "Love," it is thus quoted : "
And therefore it was well said that it is impossible to love and be wise." In Burton's Anatomy" it is quoted in full,

"Amare et sapere ipsi Jovi non conceditur, as Seneca holds" (Part III. ii. 3)

In the last sentence of the Statesman's speech in Bacon's "Device" it is thus imperfectly produced : 

"So that I conclude I have traced him the way to that which hath been granted to some few, amare et sapere, to love and be wise" ("Life," I. 383)

Thus not only love but all high emotion is more or less detached from wisdom. Rapture and reason belong to different types of nature and different departments of conduct or action.
From all these passages we may infer that what, in Bacon's view, is foolish in some respects, may yet be very interesting, and associated even with wisdom in counsel and action; and that however much he may dwell upon the folly and unwisdom of lovers, he can at the same time admire the beauty, sincerity, depth, and fervour of the passion , and even find in the expression of it something both "comely" and useful.
It is true that the folly of lovers has been a shaft for the wits of all ages; but there is this difference between Bacon's wit and that which is current in the jests of other men. Other jesters note the folly, and only laugh at it, they do not reason upon it. With Bacon it is generalized, and finds its proper place in the philosophy of human nature: he takes its measure, and traces its ramifications in other departments of action, besides wooing. So also in Shakespeare, the folly of lovers is not merely an occasion for fun and quizzing; it is an ascertained settled fact, to be reckoned with in any large portraiture of human nature and its activities. Under all toying and laughter, it is easy to see that the poet had a grounded and reasoned opinion that love is always associated with some sort of weakness and folly, and yet that with all this it is excellently fair and attractive. Thus the folly and the beauty are blended; he does not jest in one mood and admire in another; one occasion evokes both sentiments, and in his laughter there is no scorn. As he finds wisdom and folly united in actual life, he has no hesitation in presenting the same blend in his art, which he has found in his philosophy.

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