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There shall you have the beauteous pine,
The seat for your disport shall be
There shall you see the nymphs at play,
The birds, with heavenly tuned throats,
Upon the bare and leafless oak
In bowers of laurel trimly dight,
Her richest treasure on our bed.
Ten thousand glow-worms shall attend,
Then in mine arms will I enclose
Thus as we pass the welcome night
If these may serve for to entice Your presence to Love's paradise, Then come with me and be my dear, And we will straight begin the year. Finis. Ignoto. Who will say that this is not equal to the first song ascribed to Marlowe ? What couplet in that surpasses this one? “Where silver sands and pebbles sing Eternal ditties with the Spring.” Or this 2 “Ten thousand glow-worms shall attend, And all their sparkling lights shall spend.” For parallels with the first of these couplets take the following: “Silver stream.” Much Ado, iii, 1. “Sing no more ditties.” Ibid, ii, 1. “Silver currents.” K. John, ii, 1. “The murmuring surge That on the unnumbered idle pebbles chafes.” Ibid, iv, 6. For a single parallel with the second couplet take this: “Twenty glow-worms shall our lanterns be.” M. W. Windsor, v, 5. Similar parallels may be found with other lines of the song. Now are we to believe that Marlowe wrote the first song, and Raleigh the other two signed “Igmoto "? Is it not far more rational and consistent to believe that all three were written by the same pen? Again, Barnfield has two pieces in the “Helicon,” and the editor ascribes to him another signed “Ignoto”—No. xxi, “As it fell upon a day ”—while Allibone, in his Dictionary of Authors, makes him the author not only of xxi, but of xx—“Come live with me and be my love"—and says that Raleigh's authorship of “The Nymph's Reply" is questioned. Thus Marlowe is robbed of the only piece ascribed to him in the “Helicon,” and Raleigh is left out of it. entirely, unless he wrote some other poem signed “Ignoto.” And by the way, poor neglected Shakspere has but a single specimen there—“On a day, alack a day”— taken from “Love's Labor Lost.” But the confusion about “Ignoto” is still more confounded. On page 112 of the “Helicon " is a song entitled “The Shepherd's Dump,” subscribed “S. E. D.,” supposed to mean Sir Edward Dyer, and on page 224 the same identical song reappears entitled “Thirsis, the Shepherd, to his pipe,” and signed “Ignoto.” The editor of 1812 supposes it was reprinted to make a few corrections in the last stanza; but as the verbal variations in that stanza make it positively worse, it is more likely that the compiler did not notice the repetition, but inadvertently put both in as he found them, But even this is not all. In Ellis's “Specimens of the early English Poets,” 5th edition, 1845, among the pieces credited to Fulke Greville (Lord Brooke) is a “Song,” with these words in brackets: “To be found in “England's Helicon,’ where it is signed Ignoto.” On turning to the edition of 1614 we find that song entitled “Another, of his Cynthia.” It is preceded by two, evidently by the same pen, entitled, “To his Flocks,” and “To his Love;” and is followed by still “Another to his Cynthia.” But all these are anonymous in the edition of 1614, and the editor appends to the last one the following remark:
“These three [or four 2] ditties were taken out of Maister John Dowland's Book of Tableture for the Lute. The authors' names not there set down, and therefore left to their owners.”
But it happens that the four ditties are all credited
to “Ignoto” in the Table of Contents, prepared by the other editor, so that in the edition of 1614 “Ignoto” has twenty pieces, besides the one assigned to Marlowe.
With all this confusion what are we to believe in regard to “Ignoto”? Was he sometimes Raleigh, sometimes Barnfield, sometimes Dyer, sometimes Greville, and sometimes Shakspere, or some one else? Or was he a single person who “ loved better to be a poet than to be counted so;” and who affected to hoodwink the above-named Greville by writing to him in 1596: “Por poets I can commend none, being resolved to be ever a stranger to them”?
And here let us note a bit of internal evidence that Bacon wrote the little poem in praise of the “Faery Queen” signed “Ignoto.” One couplet of it is as follows:
“For when men know the goodness of the wine,
No. 517 of Bacon’s “Promus of Formularies and
Elegancies” is this:
The word “bush” as applied to wine is thus defined by Webster: “A branch of ivy (as sacred to Bacchus) hung out at vint
ners' doors, or as a tavern sign; hence a tavern sign, or the tavern itself.”
“‘If it be true that good wine needs no bush, 'tis true that a good play needs no epilogue.” Shak.” [As You Like It...]
We leave the reader to put this and that together; argument or comment is superfluous.
And now what shall we say in regard to Marlowe's ostensible authorship of a popular song, which was attributed to Shakspere in 1599 Is it not presumable that “Ignoto,” who wrote the “Nymph's Reply,” and followed it with “Another of the same nature made since" in imitation of the song subscribed “Chr. Marlowe”—is it not probable that “Ignoto” ascribed his own original song to Marlowe ?
Marlowe was buried June 1, 1593. In the same year Shakspere's name first appeared in print as an author. And now among the startling revelations. hitherto hidden in the Folio of 1623, but made known through Bacon's cipher discovered by the Hon. Ignatius. Donnelly, is this sentence:
“Ever since Marlowe was killed Shakspere has been my mask.” \
Another Poem by Bacon in 1590.
The 33d anniversary of Elizabeth's coronation was celebrated November 17, 1590. Sir Henry Lea, the Queen's champion and master of the armory, who had conducted the exercises from the beginning, appeared for the last time, and, after the customary performances, resigned his office to the Earl of Cumberland, whereupon the celebrated vocalist, Mr. Hales, a servant of her Majesty, pronounced and sung the following verses, personating the aged man-at-arms: