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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:

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"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 anony

mous in the edition of 1614, and the editor appends to the last one the following remark:

"These three [or four ?] 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: "For 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,

'Tis needless for the host to have a sign."

No. 517 of Bacon's "Promus of Formularies and Elegancies" is this:

"Good wine needs no bush."

The word "." "bush as applied to wine is thus defined by Webster:

"A branch of ivy (as sacred to Bacchus) hung out at vintners' 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:

"My golden locks hath time to silver turned,

(O Time too swift, and swiftness never ceasing!)
My youth 'gainst age, and age at youth hath spurned,
But spurned in vain; youth waneth by increasing.
Beauty and strength, and youth flowers fading been,
Duty, faith, love, are roots and ever green.

"My helmet now shall make a hive for bees,

And lovers' songs shall turn to holy psalms;
A man-at-arms must now stand on his knees,
And feed on prayers that are old age's alms.
And so from court to cottage I depart;
My saint is sure of my unspotted heart.

And when I sadly sit in lonely cell,

I'll teach my swains this carol for a song:
'Blest be the hearts that wish my Sovereign well,
Curst be the souls that think to do her wrong.'
Goddess! vouchsafe this aged man his right,

To be your beadsman now that was your knight." Parallels are found in Bacon and Shakspere with almost every sentiment and expression in these lines. (See Mrs. Pott's "Promus," p. 528.)

The verses were published anonymously in Dowland's "First Book of Songs," 1600, and again in 1844; both times with the pronouns changed from the first to the third person―e. g., "His golden locks," etc. In the "Works of George Peele," 1828, they are credited to that poet, but the only evidence adduced of his authorship is the fact that he, as an eye-witness, wrote a poetic description of the celebration in 1590. Mrs. Pott is doubtless right in claiming for Bacon the authorship, and is only mistaken in supposing that the person to whom the verses were intended to apply was Lord Burleigh, who about that time, on account of the loss of his wife, had temporarily withdrawn from court.

Bacon and Shakspere.

A CHRONOGRAPHIC PARALLEL.

Francis Bacon. Born January 22, 1561; died April 9, 1626; aged sixty-five years.

Son of a Lord Keeper of England, a learned Protestant.

Educated at Trinity College, Cambridge.

Left college at fifteen, not a graduate.

Went as an attaché to the Court of Paris, from fifteen to eighteen.

Learned French, Italian, and Spanish.

Returned on the death of his father, bearing a dispatch to the Queen.

Married at forty-five to a handsome young maiden of rank.

"Then let thy love be younger than thyself,

Or thy affection cannot hold the bent."

-Twelfth Night, ii, 4.

William Shakspere.

Born April 23, 1564; died April 23, 1616; aged fifty-two years.

Son of a woolstapler and glover of Stratford, an illiterate Catholic.

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