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Baconian theory of Shakespeare authorship

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  [11]Painting of a bearded, moustached man wearing a hat and ornate 17th
  century garb, including a fluted, lace collar. He looks directly at the
  viewer.
  Sir [12]Francis Bacon was the first alternative candidate proposed as
  the author of Shakespeare's plays and was the most popular alternative
  candidate in the nineteenth and early twentieth centuries.

  The Baconian theory of [13]Shakespeare authorship holds that [14]Sir
  Francis Bacon, philosopher, essayist and scientist, wrote the [15]plays
  which were publicly attributed to [16]William Shakespeare. Various
  explanations are offered for this alleged subterfuge, most commonly
  that Bacon's rise to high office might have been hindered were it to
  become known that he wrote plays for the public stage. Thus the plays
  were credited to Shakespeare, who was merely a front to shield the
  identity of Bacon.

  Bacon was the first alternative candidate suggested as the author of
  Shakespeare's plays. The theory was first put forth in the
  mid-nineteenth century, based on perceived correspondences between the
  philosophical ideas found in Bacon’s writings and the works of
  Shakespeare. Later, proponents claimed to have found legal and
  autobiographical allusions and cryptographic ciphers and codes in the
  plays and poems to buttress the theory. All academic Shakespeare
  scholars but a few reject the arguments for Baconian authorship, as
  well as those for all other alternative authors.

  The Baconian theory gained great popularity and attention in the late
  nineteenth and early twentieth centuries, although since the
  mid-twentieth century the primacy of his candidacy as author of the
  Shakespeare canon has been supplanted by that of [17]Edward de Vere,
  17th Earl of Oxford. Despite the academic consensus that Shakespeare
  wrote the works bearing his name and the decline of the theory,
  supporters of Bacon continue to argue for his candidacy through
  organizations, books, newsletters, and websites.
  [ ]

Contents

    * [18]1 Terminology
    * [19]2 History of Baconian theory
         + [20]2.1 Baconian cryptology
    * [21]3 Credentials for authorship
    * [22]4 Alleged coded references to Bacon's authorship
    * [23]5 Gray's Inn revels 1594–95
    * [24]6 Verbal parallels
         + [25]6.1 Gesta Grayorum
         + [26]6.2 Promus
         + [27]6.3 Published work
    * [28]7 Arguments against Baconian theory
    * [29]8 References in popular culture
    * [30]9 See also
    * [31]10 Notes
    * [32]11 References
    * [33]12 Further reading
    * [34]13 External links

Terminology[[35]edit]

  See also: [36]Spelling of Shakespeare's name

  Sir [37]Francis Bacon was a scientist, philosopher, [38]courtier,
  diplomat, essayist, historian and successful politician, who served as
  [39]Solicitor General (1607), [40]Attorney General (1613) and [41]Lord
  Chancellor (1618). Those who subscribe to the theory that Sir Francis
  Bacon wrote Shakespeare's works refer to themselves as "Baconians,"
  while dubbing those who maintain the orthodox view that [42]William
  Shakespeare of [43]Stratford wrote his own works "Stratfordians."

  Baptised as "Gulielmus filius Johannes Shakspere" (William son of John
  Shakspere), the traditionally accepted author's surname is spelled in
  several variants during his lifetime, but his signature is most
  commonly spelled "Shakspere". Baconians often use "Shakspere"^[44][1]
  or "Shakespeare" for the glover's son and actor from Stratford, and
  "Shake-speare" for the author to avoid the assumption that the
  Stratford man wrote the work.

History of Baconian theory[[45]edit]

  A pamphlet entitled [46]The Story of the Learned Pig (circa 1786) and
  alleged research by [47]James Wilmot have been described by some as the
  earliest instances of the claim that Bacon wrote Shakespeare's work,
  but the Wilmot research has been exposed as a forgery, and the pamphlet
  makes no reference to Bacon.^[48][2]

  The idea was first proposed by [49]Delia Bacon in lectures and
  conversations with intellectuals in America and Britain. William Henry
  Smith was the first to publish the theory in a letter to [50]Lord
  Ellesmere published in the form of a sixteen-page pamphlet entitled Was
  Lord Bacon the Author of Shakespeare's Plays?^[51][3] Smith suggested
  that several letters to and from Francis Bacon hinted at his
  authorship. A year later, both Smith and Delia Bacon published books
  expounding the Baconian theory.^[52][4]^[53][5] In Delia Bacon's work,
  "Shakespeare" was represented as a group of writers, including Francis
  Bacon, [54]Sir Walter Raleigh and [55]Edmund Spenser, whose agenda was
  to propagate an anti-monarchial system of philosophy by secreting it in
  the text.

  In 1867, in the library of [56]Northumberland House, John Bruce
  happened upon a bundle of bound documents, some of whose sheets had
  been ripped away. It had comprised numerous of Bacon's oratories and
  disquisitions, had also apparently held copies of the plays [57]Richard
  II and [58]Richard III, [59]The Isle of Dogs and [60]Leicester's
  Commonwealth, but these had been removed. On the outer sheet was
  scrawled repeatedly the names of Bacon and Shakespeare along with the
  name of [61]Thomas Nashe. There were several quotations from
  Shakespeare and a reference to the word
  [62]Honorificabilitudinitatibus, which appears in both Love's Labour's
  Lost and Nashe's Lenten Stuff. The Earl of Northumberland sent the
  bundle to [63]James Spedding, who subsequently penned a thesis on the
  subject, with which was published a facsimile of the aforementioned
  cover. Spedding hazarded a 1592 date, making it possibly the earliest
  extant mention of Shakespeare.

  After a diligent deciphering of the Elizabethan handwriting in Francis
  Bacon's notebook, known as the Promus of Formularies and Elegancies,
  Constance Mary Fearon Pott (1833–1915) argued that many of the ideas
  and figures of speech in Bacon's book could also be found in the
  Shakespeare plays. Pott founded the Francis Bacon Society in 1885 and
  published her Bacon-centered theory in 1891.^[64][6] In this, Pott
  developed the view of W.F.C. Wigston,^[65][7] that Francis Bacon was
  the founding member of the [66]Rosicrucians, a [67]secret society of
  [68]occult philosophers, and claimed that they secretly created art,
  literature and drama, including the entire Shakespeare canon, before
  adding the symbols of the rose and cross to their work. [69]William
  Comyns Beaumont also popularized the notion of Bacon's authorship.

  Other Baconians ignored the esoteric following that the theory was
  attracting.^[70][8] Bacon's reason for publishing under a pseudonym was
  said to be his need to secure his high office, possibly in order to
  complete his "Great Instauration" project to reform the moral and
  intellectual culture of the nation. The argument runs that, he intended
  to set up new institutes of experimentation to gather the data to which
  his inductive method could be applied. He needed high office to gain
  the requisite influence,^[71][9] and being known as a dramatist,
  allegedly low-class profession, would have impeded his prospects (see
  [72]Stigma of print). Realising that play-acting was used by the
  ancients "as a means of educating men's minds to virtue",^[73][10] and
  being "strongly addicted to the theatre"^[74][11] himself, he is
  claimed to have set out the otherwise-unpublished moral philosophical
  component of his Great Instauration project in the Shakespearean work.
  In this way, he could influence the nobility through dramatic
  performance with his observations on what constitutes "good"
  government.

  By the end of the 19th century, Baconian theory had received support
  from a number of high-profile individuals. [75]Mark Twain showed an
  inclination for it in his essay [76]Is Shakespeare Dead?. [77]Friedrich
  Nietzsche expressed interest in and gave credence to the Baconian
  theory in his writings.^[78][12] The German mathematician [79]Georg
  Cantor believed that Shakespeare was Bacon. He eventually published two
  pamphlets supporting the theory in 1896 and 1897.^[80][13] By 1900
  leading Baconians were asserting that their cause would soon be won. In
  1916 a judge in Chicago ruled in a civil trial that Bacon was the true
  author of the Shakespeare canon.^[81][14] However, this proved to be
  the heyday of the theory. A number of new candidates were proposed in
  the early 20th century, notably [82]Roger Manners, 5th Earl of Rutland,
  [83]William Stanley, 6th Earl of Derby and [84]Edward de Vere, 17th
  Earl of Oxford, dethroning Bacon as the sole alternative to
  Shakespeare. Furthermore, alternative authorship theories failed to
  make any headway among academics.

Baconian cryptology[[85]edit]

  In 1880 [86]Ignatius L. Donnelly, a U.S. [87]Congressman, [88]science
  fiction author and [89]Atlantis theorist, wrote The Great Cryptogram,
  in which he argued that Bacon revealed his authorship of the works by
  concealing secret ciphers in the text. This produced a plethora of late
  19th-century Baconian theorising, which developed the theme that Bacon
  had hidden encoded messages in the plays.

  Baconian theory developed a new twist in the writings of [90]Orville
  Ward Owen and [91]Elizabeth Wells Gallup. Owen's book Sir Francis
  Bacon's Cipher Story (1893–95) claimed to have discovered a secret
  history of the Elizabethan era hidden in cipher-form in
  Bacon/Shakespeare's works. The most remarkable revelation was that
  Bacon was the son of [92]Queen Elizabeth. According to Owen, Bacon
  revealed that Elizabeth was secretly married to [93]Robert Dudley, Earl
  of Leicester, who fathered both Bacon himself and [94]Robert Devereux,
  2nd Earl of Essex, the latter ruthlessly executed by his own mother in
  1601.^[95][15] Bacon was the true heir to the throne of England, but
  had been excluded from his rightful place. This tragic life-story was
  the secret hidden in the plays.
  A feature in the [96]Chicago Tribune on the 1916 trial of Shakespeare's
  authorship. From left: George Fabyan; Judge Tuthill; Shakespeare and
  Bacon; [97]William Selig.

  [98]Elizabeth Wells Gallup developed Owen's views, arguing that a
  [99]bi-literal cipher, which she had identified in the [100]First Folio
  of Shakespeare's works, revealed concealed messages confirming that
  Bacon was the queen's son. This argument was taken up by several other
  writers, notably Alfred Dodd in Francis Bacon’s Personal Life Story
  (1910) and C.Y.C. Dawbarn in Uncrowned (1913).^[101][15]^[102][16] In
  Dodd's account Bacon was a national redeemer, who, deprived of his
  ordained public role as monarch, instead performed a spiritual
  transformation of the nation in private though his work: "He was born
  for England, to set the land he loved on new lines, 'to be a Servant to
  Posterity'".^[103][17] In 1916 Gallup's financial backer [104]George
  Fabyan was sued by film producer [105]William Selig. He argued that
  Fabyan's advocacy of Bacon threatened the profits expected from a
  forthcoming film about Shakespeare. The judge determined that ciphers
  identified by Gallup proved that Francis Bacon was the author of the
  Shakespeare canon, awarding Fabyan $5,000 in damages.

  Orville Ward Owen had such conviction in his own cipher method that, in
  1909, he began excavating the bed of the [106]River Wye, near
  [107]Chepstow Castle, in the search of Bacon's original Shakespearean
  manuscripts. The project ended with his death in 1924. Nothing was
  found.

  The American art collector [108]Walter Conrad Arensberg (1878–1954)
  believed that Bacon had concealed messages in a variety of ciphers,
  relating to a secret history of the time and the esoteric secrets of
  the Rosicrucians, in the Shakespearean works. He published a variety of
  decipherments between 1922 and 1930, concluding finally that, although
  he had failed to find them, there certainly were concealed messages. He
  established the Francis Bacon Foundation in California in 1937 and left
  it his collection of Baconiana.

  In 1957 the expert cryptographers [109]William and [110]Elizebeth
  Friedman published The Shakespearean ciphers examined, a study of all
  the proposed ciphers identified by Baconians (and others) up to that
  point. The Friedmans had worked with Gallup. They showed that the
  method is unlikely to have been employed by the author of Shakespeare's
  works, concluding that none of the ciphers claimed to exist by
  Baconians were valid.^[111][18]

Credentials for authorship[[112]edit]

  Early Baconians were influenced by Victorian [113]bardolatry, which
  portrayed Shakespeare as a profound intellectual, "the greatest
  intellect who, in our recorded world, has left record of himself in the
  way of Literature", as [114]Thomas Carlyle stated.^[115][19]^[116][20]
  In conformity with these ideas, Baconian writer Harry Stratford
  Caldecott held that the Shakespearean work was of such an incalculably
  higher calibre than that of contemporary playwrights that it could not
  possibly have been written by any of them. Even mainstream
  Shakespearean scholar [117]Horace Howard Furness, wrote that "Had the
  plays come down to us anonymously – had the labour of discovering the
  author been imposed upon future generations – we could have found no
  one of that day but Francis Bacon to whom to assign the crown. In this
  case it would have been resting now upon his head by almost common
  consent."^[118][21] "He was," agreed Caldecott, "all the things that
  the plays of Shakespeare demand that the author should be – a man of
  vast and boundless ambition and attainments, a philosopher, a poet, a
  lawyer, a statesman."^[119][22]

  Baconians have also argued that Shakespeare's works show a detailed
  scientific knowledge that, they claim, only Bacon could have possessed.
  Certain passages in [120]Coriolanus, first published in 1623, are
  alleged to refer to the [121]circulation of the blood, a theory known
  to Bacon through his friendship with [122]William Harvey, but not made
  public until after Shakespeare's death in 1616.^[123][23] They also
  argue that Bacon has been praised for his poetic style, even in his
  prose works.^[124][24]

  Opponents of this view argue that Shakespeare's erudition was greatly
  exaggerated by Victorian enthusiasts, and that the works display the
  typical knowledge of a man with a grammar school education of the time.
  His Latin is derived from school books of the era.^[125][25] There is
  no record that any contemporary of Shakespeare referred to him as a
  learned writer or scholar. Ben Jonson and Francis Beaumont both refer
  to his lack of classical learning.^[126][26] If a university-trained
  playwright wrote the plays, it is hard to explain the many
  [127]classical blunders in Shakespeare. Not only does he mistake the
  [128]scansion of many classical names, in [129]Troilus and Cressida he
  has Greeks and Trojans citing [130]Plato and [131]Aristotle a thousand
  years before their births.^[132][27] Willinsky suggests that most of
  Shakespeare's classical allusions were drawn from [133]Thomas Cooper’s
  Thesaurus Linguae Romanae et Britannicae (1565), since a number of
  errors in that work are replicated in several of Shakespeare’s
  plays,^[134][28] and a copy of this book had been bequeathed to
  Stratford Grammar School by John Bretchgirdle for "the common use of
  scholars".^[135][29]

  In addition, it is argued that Bacon's and Shakespeare's styles of
  writing are profoundly different, and that they use very different
  vocabulary.^[136][30] Scott McCrea writes, "there is no answer for
  Bacon's different renderings of the same word – 'politiques' instead of
  'politicians', or 'submiss' instead of the Author's 'submissive', or
  'militar' instead of the Poet's 'military'. These are two different
  writers."^[137][30]

Alleged coded references to Bacon's authorship[[138]edit]

  Title page of Cryptomenytices et Cryptographiae by [139]Gustavus
  Selenus. Baconians have argued that this depicts Bacon writing the
  plays (bottom panel), giving them to a middle man, who passes them to
  Shakespeare (the man holding a spear in the middle-left panel)

  Baconians have claimed that some contemporaries of Bacon and
  Shakespeare were in on the secret of Bacon's authorship, and have left
  hints of this in their writings. "There can be no doubt," said
  Caldecott, "that Ben Jonson was in possession of the secret composition
  of Shakespeare's works." An intimate of both Bacon and Shakespeare – he
  was for a time the former's stenographer and Latin interpreter, and had
  his [140]debut as a playwright produced by the latter – he was placed
  perfectly to be in the know. He did not name Shakespeare among the
  sixteen greatest cards of the epoch but wrote of Bacon that he "hath
  filled up all the numbers and performed that in our tongue which may be
  compared or preferred either to insolent Greece and haughty Rome so
  that he may be named, and stand as the mark and acme of our
  language."^[141][31] Jonson's First-Folio tribute to "The Author Mr
  William Shakespeare",[...] contains the same words, stating that
  Shakespeare is as good as "all that insolent Greece or haughty Rome"
  produced. According to Caldecott, "If Ben Jonson knew that the name
  'Shakespeare' was a mere cloak for Bacon, it is easy enough to
  reconcile the application of the same language indifferently to one and
  the other. Otherwise," declared Caldecott, "it is not easily
  explicable.".^[142][32]

  Baconians Walter Begley and Bertram G. Theobald claimed that
  Elizabethan satirists [143]Joseph Hall and [144]John Marston alluded to
  [145]Francis Bacon as the true author of [146]Venus and Adonis and
  [147]The Rape of Lucrece by using the sobriquet "Labeo" in a series of
  poems published in 1597–98. They take this to be a coded reference to
  Bacon on the grounds that the name derives from Rome's most famous
  legal scholar, [148]Marcus Labeo, with Bacon holding an equivalent
  position in [149]Elizabethan England. Hall denigrates several poems by
  Labeo and states that he passes off criticism to "shift it to another's
  name". This is taken to imply that he published under a pseudonym. In
  the following year Marston used Bacon's Latin motto in a poem and seems
  to quote from Venus and Adonis, which he attributes to Labeo.^[150][33]
  Theobald argued that this confirmed that Hall's Labeo was known to be
  Bacon and that he wrote Venus and Adonis. Critics of this view argue
  that the name Labeo derives from [151]Attius Labeo, a notoriously bad
  poet, and that Hall's Labeo could refer to one of many poets of the
  time, or even be a composite figure, standing for the triumph of bad
  verse.^[152][30]^[153][34] Also, Marston's use of the Latin motto is a
  different poem from the one which alludes to Venus and Adonis. Only the
  latter uses the name Labeo, so there is no link between Labeo and
  Bacon.^[154][30]

  In 1645 a satirical poem (often attributed to [155]George Wither) was
  published entitled The Great Assizes Holden in [156]Parnassus by Apollo
  and his Assessours. This describes an imaginary trial of recent writers
  for crimes against literature. [157]Apollo presides at a trial. Bacon
  ("The Lord Verulam, Chancellor of Parnassus") heads a group of scholars
  who act as the judges. The jury comprises poets and playwrights,
  including "William Shakespeere". One of the convicted "criminals"
  challenges the court, attacking the credentials of the jury, including
  Shakespeare, who is called a mere "mimic". Despite the fact that Bacon
  and Shakespeare appear as different individuals, Baconians have argued
  that this is a coded assertion of Bacon's authorship of the canon, or
  at least proof that he was recognised as a poet.^[158][35]

  Various images, especially in the frontispieces or title pages of
  books, have been said to contain symbolism pointing to Bacon's
  authorship. A book on codes and cyphers entitled Cryptomenytices et
  Cryptographiae, is said to depict Bacon writing a work and Shakespeare
  (signified by the spear he carries) receiving it. Other books with
  similar alleged coded imagery include the third edition of [159]John
  Florio's translation of Montaigne, and various editions of works by
  Bacon himself.^[160][36]

Gray's Inn revels 1594–95[[161]edit]

  Gray's Inn law school traditionally held revels over Easter 94 and '95,
  all performed plays were amateur productions.^[162][37] In his
  commentary on the Gesta Grayorum, a contemporary account of the 1594–95
  revels, Desmond Bland^[163][38] informs us that they were "intended as
  a training ground in all the manners that are learned by nobility
  [...:] dancing, music, declamation, acting." [164]James Spedding, the
  Victorian editor of Bacon's Works, thought that Sir Francis Bacon was
  involved in the writing of this account.^[165][39]
  [166]Five ornate, hand printed lines.
  William Shakespeare remunerated for a performance at Whitehall on
  Innocents Day 1594.

  The Gesta Grayorum^[167][40] is a pamphlet of 68 pages first published
  in 1688. It informs us that The Comedy of Errors received its first
  known performance at these revels at 21:00 on 28 December 1594
  ([168]Innocents Day) when "a Comedy of Errors (like to [169]Plautus his
  [170]Menechmus) was played by the Players [...]." Whoever the players
  were, there is evidence that Shakespeare and his company were not among
  them: according to the royal Chamber accounts, dated 15 March 1595 –
  see Figure^[171][41] – he and the Lord Chamberlain's Men were
  performing for the Queen at Greenwich on Innocents Day. [172]E.K.
  Chambers^[173][42] informs us that "the Court performances were always
  at night, beginning about 10pm and ending at 1am", so their presence at
  both performances is highly unlikely; furthermore, the Gray's Inn
  Pension Book, which recorded all payments made by the Gray's Inn
  committee, exhibits no payment either to a dramatist or to professional
  company for this play.^[174][43] Baconians interpret this as a
  suggestion that, following precedent, The Comedy of Errors was both
  written and performed by members of the Inns of Court as part of their
  participation in the Gray's Inn celebrations. One problem with this
  argument is that the Gesta Grayorum refers to the players as "a Company
  of base and common fellows",^[175][44] which would apply well to a
  professional theatre company, but not to law students. But, given the
  jovial tone of the Gesta, and that the description occurred during a
  skit in which a "Sorcerer or Conjuror" was accused of causing
  "disorders with a play of errors or confusions", Baconians interpret it
  as merely a comic description of the Gray's Inn players.

  Gray's Inn actually had a company of players during the revels. The
  Gray's Inn Pension Book records on 11 February 1595 that "one hyndred
  marks [£66.67] [are] to be layd out & bestowyd upon the gentlemen for
  their sports and shewes this Shrovetyde at the court before the Queens
  Majestie ...."^[176][45]
  [177]Eight lines of cursive writing.
  A letter written by Francis Bacon containing the words "I am sorry the
  joint masque from the four Inns of Court faileth". The letter may have
  been written either to Lord Burghley (before 1598) or Lord Somerset
  (1613).

  There is, most importantly to the Baconians' argument, evidence that
  Bacon had control over the Gray's Inn players. In a letter either to
  [178]Lord Burghley, dated before 1598, or to the Earl of Somerset in
  1613,^[179][46] he writes, "I am sorry the joint masque from the four
  Inns of Court faileth [.... T]here are a dozen gentlemen of Gray's Inn
  that will be ready to furnish a masque".^[180][47]^[[181]verification
  needed]^[[182]original research?] The dedication to a masque by
  [183]Francis Beaumont performed at [184]Whitehall in 1613 describes
  Bacon as the "chief contriver" of its performances at Gray's Inn and
  the Inner Temple.^[185][48] He also appears to have been their
  treasurer prior to the 1594–95 revels.^[186][49]

  The discrepancy surrounding the whereabouts of the Chamberlain's Men is
  normally explained by theatre historians as an error in the Chamber
  Accounts. [187]W. W. Greg suggested the following explanation:

         "[T]he accounts of the Treasurer of the Chamber show payments to
         this company [the Chamberlain's Men] for performances before the
         Court on both 26 Dec. and 1 Jan. These accounts, however, also
         show a payment to the Lord Admiral's men in respect of 28 Dec.
         It is true that instances of two court performances on one night
         do occur elsewhere, but in view of the double difficulty
         involved, it is perhaps best to assume that in the Treasurer's
         accounts, 28 Dec. is an error for 27 Dec."^[188][50]

Verbal parallels[[189]edit]

Gesta Grayorum[[190]edit]

  [191]Eleven lines of printed text.
  'Greater lessens the smaller' figure from Gesta Grayorum.

  The final paragraph of the Gesta Grayorum – see Figure – uses a
  "greater lessens the smaller" construction that occurs in an exchange
  from the [192]Merchant of Venice (1594–97), 5.1.92–97:

                     Ner. When the moon shone we did not see the candle
                     Por. So doth the greater glory dim the less,

                           A substitute shines brightly as a King
                           Until a King be by, and then his state
                           Empties itself, as doth an inland brooke
                           Into the main of waters ...

  The Merchant of Venice uses both the same theme as the Gesta Grayorum
  (see Figure) and the same three examples to illustrate it – a subject
  obscured by royalty, a small light overpowered by that of a heavenly
  body and a river diluted on reaching the sea. In an essay^[193][51]
  from 1603, Bacon makes further use of two of these examples: "The
  second condition [of perfect mixture] is that the greater draws the
  less. So we see that when two lights do meet, the greater doth darken
  and drown the less. And when a small river runs into a greater, it
  loseth both the name and stream." A figure similar to "loseth both the
  name and stream" occurs in Hamlet (1600–01), 3.1.87–88:

                     Hamlet. With this regard their currents turn awry

                                 And lose the name of action.

  Bacon was usually careful to cite his sources but does not mention
  Shakespeare once in any of his work. Baconians claim, furthermore,
  that, if the Gesta Grayorum was circulated prior to its publication in
  1688 – and no one seems to know if it was – it was probably only among
  members of the Inns of Court.^[[194]citation needed]

Promus[[195]edit]

  In the 19th century, a [196]waste book entitled the Promus of
  Formularies and Elegancies^[197][52] was discovered. It contained 1,655
  hand written [198]proverbs, [199]metaphors, [200]aphorisms,
  [201]salutations and other miscellany. Although some entries appear
  original, many are drawn from the [202]Latin and [203]Greek writers
  [204]Seneca, [205]Horace, [206]Virgil, [207]Ovid; [208]John Heywood's
  Proverbes (1562); [209]Michel de Montaigne's Essays (1575), and various
  other French, Italian and Spanish sources. A section at the end aside,
  the writing was, by [210]Sir Edward Maunde-Thompson's reckoning, in
  Bacon's hand; indeed, his signature appears on folio 115 verso. Only
  two folios of the notebook were dated, the third sheet 5 December 1594
  and the 32nd 27 January 1595 (1596). Bacon supporters found
  similarities between a great number of specific phrases and aphorisms
  from the plays and those written by Bacon in the Promus. In 1883 Mrs.
  Henry Pott edited Bacon's Promus and found 4,400 parallels of thought
  or expression between Shakespeare and Bacon.

  Parallel 1
         Parolles. So I say both of Galen and Paracelsus (1603–05 All's
         Well That Ends Well, 2.3.11)
         Galens compositions not Paracelsus separations (Promus, folio
         84, verso)

  Parallel 2
         Launce. Then may I set the world on wheels, when she can spin
         for her living (1589–93, The Two Gentlemen of Verona,
         3.1.307–08)
         Now toe on her distaff then she can spynne/The world runs on
         wheels (Promus, folio 96, verso)

  Parallel 3
         Hostesse. O, that right should o'rcome might. Well of
         sufferance, comes ease (1598, Henry IV, Part 2, 5.4.24–25)
         Might overcomes right/Of sufferance cometh ease (Promus, folio
         103, recto)

  The orthodox view is that these were commonplace phrases; Baconians
  claim the occurrence in the last two examples of two ideas from the
  same Promus folio in the same Shakespeare speech is
  unlikely.^[[211]citation needed]

Published work[[212]edit]

  There is an example in [213]Troilus and Cressida' (2.2.163) which shows
  that Bacon and Shakespeare shared the same interpretation of an
  [214]Aristotelian view:

               Hector. Paris and Troilus, you have both said well,
               And on the cause and question now in hand
               Have glozed, but superficially: not much
               Unlike young men, whom Aristotle thought
               Unfit to hear [215]moral philosophy:
               The reasons you allege do more conduce
               To the hot passion of distemper'd blood

  Bacon's similar take reads thus: "Is not the opinion of Aristotle very
  wise and worthy to be regarded, 'that young men are no fit auditors of
  moral philosophy', because the boiling heat of their affections is not
  yet settled, nor tempered with time and experience?"^[216][53]

  What Aristotle actually said was slightly different: "Hence a young man
  is not a proper hearer of lectures on political science; [...] and
  further since he tends to follow his passions his study will be vain
  and unprofitable [...]."^[217][54] The added coincidence of heat and
  passion and the replacement of "political science" with "moral
  philosophy" is employed by both Shakespeare and Bacon. However,
  Shakespeare's play precedes Bacon's publication, allowing the
  possibility of the latter borrowing from the former.

Arguments against Baconian theory[[218]edit]

  Mainstream academics reject the Baconian theory (along with other
  "alternative authorship" theories), citing a range of evidence – not
  least of all its reliance on a conspiracy theory. As far back as 1879,
  a [219]New York Herald scribe bemoaned the waste of "considerable blank
  ammunition [...] in this ridiculous war between the Baconians and the
  Shakespearians",^[220][55] while [221]Richard Garnett made the common
  objection that Bacon was far too busy with his own work to have had
  time to create the entire canon of another writer too, declaring that
  "Baconians talk as if Bacon had nothing to do but to write his play at
  his chambers and send it to his factotum, Shakespeare, at the other end
  of the town."^[222][56]

  [223]Horace Howard Furness wrote in a letter that, "Donnelly's theory
  about Bacon's authorship is too foolish to be seriously answered. I
  don't think he started it for any other purpose than notoriety. I
  believe he doesn't attempt to show that Bacon corrected the
  proof-sheets of the First Folio, and no human foresight could have told
  how the printed line would run, and have so regulated the MSS. To
  Donnelly's theory the pagination & the number of lines in a page are
  essential." ^[224][57]

  Mainstream academics reject the anti-Stratfordian claim^[225][58] that
  Shakespeare had not the education to write the plays. Shakespeare grew
  up in a family of some importance in Stratford; his father [226]John
  Shakespeare, one of the wealthiest men in Stratford, was an
  [227]Alderman and later [228]High Bailiff of the corporation. It would
  be surprising had he not attended the local grammar school, as such
  institutions were founded to educate boys of Shakespeare's moderately
  well-to-do standing.^[229][59]

  Stratfordian scholars^[230][60] also cite [231]Occam's razor, the
  principle that the simplest and best-evidenced explanation (in this
  case that the plays were written by Shakespeare of Stratford) is most
  likely to be the correct one. A critique of all alternative authorship
  theories may be found in [232]Samuel Schoenbaum's Shakespeare's
  Lives.^[233][61] Questioning Bacon's ability as a poet, [234]Sidney Lee
  asserted: "[...] such authentic examples of Bacon's efforts to write
  verse as survive prove beyond all possibility of contradiction that,
  great as he was as a prose writer and a philosopher, he was incapable
  of penning any of the poetry assigned to Shakespeare."^[235][62]

  At least one Stratfordian scholar claims Bacon privately disavowed the
  idea he was a poet, and, seen in the context of Bacon's philosophy, the
  "concealed poet" is something other than a dramatic or narrative
  poet.^[236][63] A mainstream historian of authorship doubt, [237]Frank
  Wadsworth, asserted that the "essential pattern of the Baconian
  argument" consisted of "expressed dissatisfaction with the number of
  historical records of Shakespeare's career, followed by the
  substitution of a wealth of imaginative conjectures in their
  place."^[238][64]

  In his 1971 essay "Bill and I," author and scientific historian
  [239]Isaac Asimov made the case that Bacon did not write Shakespeare's
  plays because certain portions of the Shakespeare canon show a
  misunderstanding of the prevailing scientific beliefs of the time that
  Bacon, one of the most intensely educated people of his time, would not
  have possessed. Asimov cites an excerpt from the last act of [240]The
  Merchant of Venice, as well as the following excerpt from [241]A
  Midsummer Night's Dream:

                           ...The rude sea grew civil at her song,
                           And certain stars shot madly from their
                           spheres,
                           to hear the sea maid's music. (Act 2, Scene 1,
                           152–154).

  In the above example, the reference to stars shooting madly from their
  spheres was not in accordance with the then-accepted Greek astronomical
  belief that the stars all occupied the same sphere that surrounded the
  [242]Earth as opposed to separate ones. While it was believed that
  additional ambient spheres existed, they were thought to contain the
  other bodies in the sky that move independently from the rest of the
  stars, i.e. the [243]Sun, the [244]Moon, and the [245]planets that are
  visible to the naked eye (whose name makes its way into English from
  the Greek word planetes, meaning "wanderers," as in the wandering
  bodies that orbited the Earth independently from the fixed stars in
  their sphere).^[246][65]

References in popular culture[[247]edit]

  Shakespeare or Bacon (1885), a satirical painting about Baconian theory
  by [248]Alfred Edward Emslie. An enthusiastic Shakespearean holds a
  bust of Shakespeare, apparently threatening the man at the right, who
  is carving bacon

  Satirist [249]Max Beerbohm published a cartoon entitled "William
  Shakespeare, his method of work", in his 1904 collection The Poet's
  Corner. Beerbohm depicts Shakespeare receiving the manuscript of Hamlet
  from Bacon. In Beerbohm's comic essay On Shakespeare's Birthday he
  declares himself to be unconvinced by Baconian theory, but wishes it
  were true because of the mischief it would cause – and because having
  one hero who was both an intellectual and a creative genius would be
  more exciting than two separate ones.^[250][66]

  In [251]Rudyard Kipling's 1926 short story "The Propagation of
  Knowledge" (later collected in [252]Debits and Credits and The Complete
  [253]Stalky & Co.), some schoolboys discover the Baconian theory and
  profess to be adherents, infuriating their English master.^[254][67]

  In [255]P. G. Wodehouse's story [256]The Reverent Wooing of Archibald,
  the dedicated "sock collector" Archibald Mulliner is told that Bacon
  wrote plays for Shakespeare. He remarks that it was "dashed decent of
  him", but suggests he may have only done it because he owed Shakespeare
  money. Archibald then listens to an elderly Baconian expounding an
  incomprehensible cipher theory. The narrator remarks that the speech
  was "unusually lucid and simple for a Baconian". Archibald nevertheless
  wishes he could escape by picking up a nearby battle-axe hanging on the
  wall and "dot this doddering old ruin one just above the imitation
  necklace".^[257][68]

  In [258]Caryl Brahms' and [259]S. J. Simon's No Bed for Bacon, Bacon
  constantly intrudes on Shakespeare's rehearsals and lectures him on
  playwriting technique (with quotations from Bacon's actual works),
  until Shakespeare in exasperation asks "Master Bacon: do I write my
  plays, or do you?"

  NBC-TV Cartoon [260]Peabody's Improbable History, Episode 49, 31
  October 1961 includes a segment regarding the authorship question
  involving Francis Bacon. In the cartoon, Shakespeare is quoted as
  saying, "Bacon, you'll fry for this!"^[261][69]

  The 1981 cold war thriller [262]The Amateur, written by [263]Robert
  Littell, involves CIA agents using [264]Bacon's biliteral cipher. In
  the course of the plot, Professor Lakos, a Baconian theorist and
  cipher-expert played by [265]Christopher Plummer, assists the hero to
  uncover the truth. Littell published a [266]novelization of the story
  in the same year.

  In 1973 Margaret Barsi-Greene published the "autobiography" of Bacon
  expounding the "[267]Prince Tudor" version of Baconian theory. In 1992
  this was adapted as the play I, Prince Tudor, wrote Shakespeare by the
  dramatist Paula Fitzgerald.^[268][70]^[269][71] In 2005 Ross Jackson
  published Shaker of the Speare: The Francis Bacon Story, a novel also
  based on the Prince Tudor model.^[270][72]

  In the 2011 video game [271]Portal 2, the Fact Sphere in the boss level
  states the following: "William Shakespeare did not exist. His plays
  were masterminded by Francis Bacon who used a ouija board to enslave
  playwriting ghosts."^[272][73]

  "The Adventures of Shake and Bake," an [273]SCTV skit, first aired
  April 23, 1982 parodying the Shakespeare/Bacon theory and featuring
  [274]Dave Thomas as Shakespeare and [275]Rick Moranis as Bacon.

  In the 2016 video game [276]The Witness, the Baconian theory is brought
  up as part of the "Eclipse lecture". ^[277][74]

See also[[278]edit]

  [279]Jacques Duchaussoy author of Bacon, Shakespeare ou Saint-Germain
  (1962), a non-fiction book that discussed the possibility of
  [280]Francis Bacon [281]ghost writing for [282]Shakespeare and
  [283]Cervantes

  Petter Amundsens theory in the documentary "Cracking Shakespeare´s
  codes" [284]https://www.youtube.com/watch?v=tNL0XODSMwU

Notes[[285]edit]

   1. [286]^ Caldecott: Our English Homer, p. 7.
   2. [287]^ James Shapiro, "Forgery on Forgery," TLS (26 March 2010),
      14–15. The argument concerning the pamphlet depends on the
      assumption that the "pig" is a coded reference to the name "bacon".
   3. [288]^ Smith, William Henry. [289]Was Lord Bacon the author of
      Shakespeare's plays?, a pamphlet-letter addressed to Lord Ellesmere
      (William Skeffington, 1856).
   4. [290]^ Smith, William Henry: Bacon and Shakespeare: An Inquiry
      Touching Players, Playhouses, and Play-writers in the Days of
      Elizabeth (John Russell Smith, 1857).
   5. [291]^ Bacon, Delia: The Philosophy of the Plays of Shakespeare
      Unfolded (1857); [292]The Philosophy of the Plays of Shakespeare
      Unfolded.
   6. [293]^ Pott, Constance: Francis Bacon and His Secret Society
      (London, Sampson, Low and Marston: 1891); [294]Sirbacon.org,
      Constance Pott.
   7. [295]^ Wigston, W.F.C.: Bacon, Shakespeare and the Rosicrucians
      (1890).
   8. [296]^ Michell, John: Who Wrote Shakespeare (Thames and Hudson:
      2000) pp. 258–59.
   9. [297]^ [298]Spedding, James: "Of the Interpretation of Nature" in
      Life and Letters of Francis Bacon, 1872). Bacon writes, "I hoped
      that, if I rose to any place of honour in the state, I should have
      a larger command of industry and ability to help me in my work
      [...]."
  10. [299]^ Bacon, Francis: Advancement of Learning (1640), Book 2, p.
      xiii.
  11. [300]^ Pott; Pott: Did Francis Bacon Write "Shakespeare"?, p. 7.
  12. [301]^ [302]"Bacon (Shakespeare) and Friedrich Nietzsche".
  13. [303]^ Dauben, Joseph W. (1979), Georg Cantor: his mathematics and
      philosophy of the infinite, Boston: Harvard University Press, pp.
      281–83.
  14. [304]^ [305]Wadsworth, Frank W. (1958). [306]The Poacher from
      Stratford: A Partial Account of the Controversy Over the Authorship
      of Shakespeare's Plays. University of California Press.
  15. ^ [307]^a [308]^b Helen Hackett, Shakespeare and Elizabeth: the
      meeting of two myths, Princeton University Press, 2009, pp. 157–60
  16. [309]^ Michael Dobson & Nicola J. Watson, England's Elizabeth: An
      Afterlife in Fame and Fantasy, Oxford University Press, New York,
      2004, p. 136.
  17. [310]^ Alfred Dodd, Francis Bacon's Personal Life Story, London:
      Rider, 1950, preface.
  18. [311]^ Friedman, William F. and Friedman, Elizebeth: The
      Shakespearean ciphers examined ([312]Cambridge University Press,
      1957).
  19. [313]^ Sawyer, Robert (2003). Victorian Appropriations of
      Shakespeare. New Jersey: Fairleigh Dickinson University Press, 113.
      [314]ISBN [315]0-8386-3970-4.
  20. [316]^ [317]Carlyle, Thomas (1840). "On Heroes, Hero Worship & the
      Heroic in History". Quoted in Smith, Emma (2004). Shakespeare's
      Tragedies. Oxford: Blackwell, 37. [318]ISBN [319]0-631-22010-0.
  21. [320]^ Quoted in Morgan: The Shakespearean Myth, p. 201.
  22. [321]^ Caldecott: Our English Homer, pp. 11–12.
  23. [322]^ James Phinney Baxter, The Greatest of Literary Problems: The
      Authorship of the Shakespeare Works: An Exposition of All the
      Points at Issue, from Their Inception to the Present Moment,
      Houghton Mifflin, Boston, 1917, p. 28.
  24. [323]^ In relation to the extensive vocabulary used in the plays,
      we have the words of [324]Samuel Johnson, "[... A] Dictionary of
      the English language might be compiled from Bacon's writing alone".
      Boswell, James: The Life of Samuel Johnson 1740–1795, Chapter 13.
      The poet [325]Percy Bysshe Shelley testifies against the notion
      that Bacon's was an unwaveringly dry legal style: "Lord Bacon was a
      poet. His language has a sweet majestic rhythm, which satisfies the
      sense, no less than the almost superhuman wisdom of his intellect
      satisfies the intellect [...]." Shelley, Percy Bysshe: Defense of
      Poetry (1821), p. 10.
  25. [326]^ Baldwin, T. W. (1944). William Shakespere's Small Latine &
      Lesse Greeke. Urbana: University of Illinois Press.
  26. [327]^ [328]McCrea 2005, pp. 64, 171; [329]Bate 1998, p. 70.
  27. [330]^ [331]Lang 2008, pp. 36–37.
  28. [332]^ [333]Willinsky 1994, p. 75.
  29. [334]^ [335]Velz 2000, p. 188.
  30. ^ [336]^a [337]^b [338]^c [339]^d Scott Mccrea, The Case for
      Shakespeare: The End of the Authorship Question, Praeger: Westport,
      CT, 2004. pp. 136 ff.
  31. [340]^ Jonson, Ben: Timber: or, Discoveries; Made Upon Men and
      Matter (Cassell: 1889), pp. 60–61. (Definitions: number (n.) 1.
      (plural) verses, lines, e.g. "These numbers will I tear and write
      in prose", Hamlet II, ii, 119; mark (n.) 1. target, goal, aim, e.g.
      "that's the golden mark I seek to hit" (Henry VI, Part 2, I, i,
      241). Source: Crystal, David; Crystal, Ben: Shakespeare's Words
      ([341]Penguin Books, 2002).
  32. [342]^ Caldecott: Our English Homer, p. 15.
  33. [343]^ [344]Gibson 2005, pp. 59–65; [345]Michell 1996, pp. 126–29.
  34. [346]^ A Davenport, The Poems of Joseph Hall, Liverpool University
      Press, 1949.
  35. [347]^ Baxter, James, The Greatest of Literary Problems, Houghton,
      1917, pp. 389–91.
  36. [348]^ R. C. Churchill, Shakespeare and His Betters: A History and
      a Criticism of the Attempts Which Have Been Made to Prove That
      Shakespeare's Works Were Written by Others, Max Reinhardt, London,
      1938, p. 29
  37. [349]^ Chambers, E.K.: The Elizabethan Stage (Clarendon Press,
      1945), Vols I–IV. Gordobuc was presented before the Queen at
      Whitehall on 12 January 1561, written and acted by members of the
      Inner Temple. Gray's Inn members were responsible for writing both
      Supposes and Jocasta five years later; Catiline was performed by 26
      actors from Gray's Inn before [350]Lord Burghley on 16 January
      1588, see British Library [351]Lansdowne MS. 55, No. iv )
  38. [352]^ Bland, Desmond: Gesta Grayorum ([353]Liverpool University
      Press: 1968), pp. xxiv–xxv.
  39. [354]^ Spedding, James: The Life and Letters of Francis Bacon
      (1872), Vol. 1, p. 325: "his connexion with it, [al]though
      sufficiently obvious, has never so far been pointed out".
  40. [355]^ Gesta Grayorum, The History Of the High and Mighty Prince
      Henry (1688), printed by W. Canning in London, reprinted by
      [356]The Malone Society ([357]Oxford University Press: 1914)
  41. [358]^ [359]Public Record Office, [360]Exchequer, Pipe Office,
      Declared Accounts, E. 351/542, f.107v, p. 40: "To [361]William
      Kempe, William Shakespeare, & [362]Richard Burbage, seruants
      [[363]sic] to the [364]Lord Chamberleyne [sic ...] upon the
      Councelle's [[365]sic] warrant dated at Whitehall xv. to Marcij
      [[366]sic] 1595, for twoe severall comedies or enterludes shewed by
      them before her majestie [[367]sic] in Christmas tyme laste
      [[368]sic] past viz [369]St. Stephens Day and Innocents Day
      [...].")
  42. [370]^ Chambers, Edmund Kerchever: The Elizabethan Stage, Vol. 1
      ([371]Clarendon Press: 1945), p. 225.
  43. [372]^ Fletcher, Reginald, (Ed.) The Gray's Inn Pension Book
      1569–1669, Vol. 1 (1901).
  44. [373]^ W.W. Greg (ed.): Gesta Grayorum, p. 23.
  45. [374]^ Fletcher, Reginald (ed.): The Gray's Inn Pension Book
      1569–1669, Vol. 1 (London: 1901), p. 107.
  46. [375]^ Spedding, James, Letters and Life of Francis Bacon, Vol. II
      (New York: 1890), p. 370; Vol. IV (New York: 1868), pp. 392–95
  47. [376]^ British Library, Lansdown MS 107, folio 8
  48. [377]^ Nichols, John: The Progresses, Processions, and Magnificent
      Festivities of King James the First, Vol. II (AMS Press Inc, New
      York: 1828), pp. 589–92.
  49. [378]^ Fletcher, Reginald, (ed.): The Gray's Inn Pension Book
      1569–1669, Vol. 1 (London: 1901), p. 101.
  50. [379]^ W.W. Greg (ed.): Gesta Grayorum. [380]Malone Society
      Reprints. Oxford University Press (1914), p. vi. This theory is
      echoed by [381]Charles Whitworth (ed.) The Comedy of Errors (Oxford
      University Press, 2002), p. 3.
  51. [382]^ Spedding, James: A Brief Discourse tounching the Happy Union
      of the Kingdom of England and Scotland (1603), in The Life and
      Letters of Francis Bacon (1872), Vol. 3, p. 98.
  52. [383]^ [384]British Library MS Harley 7017. A transcription can be
      found in Durning-Lawrence, Edward, Bacon is Shakespeare (Gay &
      Hancock, London 1910).
  53. [385]^ Bacon, Francis: De Augmentis, Book VII (1623).
  54. [386]^ Ross, W.D. (translator), Aristotle: Nichomachean Ethics,
      Book 1, iii (Clarendon Press, 1908). The translation "political
      science" is given by Griffith, Tom (ed.): Aristotle: The
      Nichomachean Ethics (Wordsworth Editions: 1996), p. 5.
  55. [387]^ New York Herald 1879.
  56. [388]^ Garnett and Gosse 1904, p. 201.
  57. [389]^ [390]The Letters of Horace Howard Furness, Volume 1, 1922,
      p. 230
  58. [391]^ that the author would have needed a keen understanding of
      foreign languages, modern sciences, warfare, aristocratic sports
      such as tennis, statesmanship, hunting, natural philosophy,
      history, falconry and the law to have written the plays ascribed to
      him. It is therefore significant, say Baconians,^[[392]who?] that
      Bacon, in his 1592 letter to Burghley, claims to have "taken all
      knowledge to be [his] province".
  59. [393]^ T.W. Baldwin, "William Shakespeare's "Small Latin and Less
      Greek", University of Illinois Press, 1944.
  60. [394]^ Hirsh, James (2010). Cerasano, S.P.; Bly, Mary; Hirschfeld,
      Anne (eds.). [395]Medieval and Renaissance Drama in England. 23.
      p. 51. [396]ISBN [397]9780838642696. "...Someone with a respect for
      evidence would not be satisfied with the hodgepodge of feeble
      rationalizations. Nor would someone with a respect for evidence be
      satisfied with a defense of the conventional assumption that dealth
      with only a few of the many pieces of inconvenient evidence
      catalogued here and that simply ignored the numerous remaining
      pieces. If ever a situation called for Occam's razor, this is it.
      If a single explanation accounts for many pieces of evidence, that
      explanation is more likely to be correct than a series of separate,
      ad hoc explanations, one for each piece of evidence, even if the
      alternative explanations for each individual piece of evidence are
      all equally credible."
  61. [398]^ Schoenbaum, Shakespeare's Lives (OUP, New York, 1970)
  62. [399]^ Bate, Jonathan, The Genius of Shakespeare, (Picador: 1997),
      p. 88
  63. [400]^ [401]Stopes 2003, pp. 65–67
  64. [402]^ [403]Wadsworth 1958, p. 17
  65. [404]^ [405]Asimov, Isaac (1972). [406]The Left Hand of the
      Electron, pp. 214–26
  66. [407]^ [408]"Max Beerbohm, On Shakespeare's Birthday, 1902".
      Archived from [409]the original on 5 September 2012. Retrieved 19
      September 2012.
  67. [410]^ [411]Notes on "The Propagation of Knowledge"
  68. [412]^ The World of Mr. Mulliner, Barrie and Jenkins, 1972, p. 141.
  69. [413]^ [414]Shakespeare cartoon
  70. [415]^ Margaret Barsi-Greene, I, Prince Tudor, wrote Shakespeare:
      an autobiography from his two ciphers in poetry and prose, Branden
      Books, 1973
  71. [416]^ [417]I, Prince Tudor Wrote Shakespeare, British Film and
      Video Council, moving image and sound, knowledge and access
  72. [418]^ Ross Jackson, Shaker of the Speare: The Francis Bacon Story,
      Book Guild Ltd, 2005.
  73. [419]^ [420]"All quotes from Portal 2's Fact Sphere". YouTube.
      FantasticDeli. Retrieved 16 February 2016.
  74. [421]^ [422]"The Witness – All 6 Theater Movies". YouTube.
      PS4Trophies.

References[[423]edit]

    * Bacon, Delia: The Philosophy of the Plays of Shakespeare Unfolded
      (1857); [424]The Philosophy of the Plays of Shakespeare Unfolded
    * Bacon, Francis: Advancement of Learning (1640)
    * Bacon, Francis, The Major Works (Oxford University Press: 2002)
    * Bland, Desmond: Gesta Grayorum ([425]Liverpool University Press,
      1968)
    * Boswell, James: The Life of Samuel Johnson 1740–1795
    * Caldecott, Harry Stratford: Our English Homer; or, the
      Bacon-Shakespeare Controversy ([426]Johannesburg Times, 1895)
    * Chambers, Edmund Kerchever: The Elizabethan Stage, Vol. 1
      (Clarendon Press: 1945)
    * Dean, Leonard: Sir Francis Bacon's theory of civil history writing,
      in Vickers, Brian, (ed.): Essential Articles for the Study of Sir
      Francis Bacon (Sidwick & Jackson: 1972)
    * Dobson, Michael, and Wells, Stanley, The Oxford Companion to
      Shakespeare (Oxford University Press: 2005)
    * Feil, J.P. (1967), "Bacon-Shakespeare: The Tobie Matthew
      Postscript", Shakespeare Quarterly, Folger Shakespeare Library, 18
      (1): 73–76, [427]doi:[428]10.2307/2868068, [429]JSTOR [430]2868068

    Fletcher, Reginald (ed.): The Gray's Inn Pension Book 1569–1669, Vol.
  1 (1901)

    Friedman, William and Friedman, Elizebeth: The Shakespearean Ciphers
  Examined ([431]Cambridge University Press, 1957)

    [432]Garnett, Richard, and [433]Edmund Gosse. English Literature: An
  Illustrated Record. Vol. II. London: [434]Heinemann, 1904.

    Heminge, John; Condell, Henry: [435]First Folio (1623)

    Holinshed, Raphael, The Chronicles of England, Scotland and Ireland
  (1587)

    Hollenbach, Karl F., Francis Rosicross (2013)

    Jonson, Ben: Timber: or, Discoveries; Made Upon Men and Matter
  (Cassell: 1889)

    [436]Hall, Joseph: Virgidemarium (1597–1598)

    Jardine, Lisa, and Stewart, Alan: Hostage to Fortune: The Troubled
  Life of Sir Francis Bacon (Hill and Wang: 1999)

    Kermode, F. (ed.), The Tempest, Arden Shakespeare (London, Methuen:
  1958)

    [437]Lambeth Palace MS 650.28

    [438]Lambeth Palace MS 976, folio 4

    [439]Marston, John: The Metamorphosis of Pygmalion's Image And
  Certaine Satyres (1598)

    Michell, John: Who Wrote Shakespeare (Thames and Hudson: 2000)

    Morgan, Appleton: The Shakespearean Myth: William Shakespeare and
  Circumstantial Evidence (R. Clarke, 1888)

    [440]New York Herald. 19 September 1879.

    Pott, Constance: Francis Bacon and His Secret Society (London,
  Sampson, Low and Marston: 1891); [441]Sirbacon.org, Constance Pott

    Pott, Henry; Pott, Constance Mary Fearon: Did Francis Bacon Write
  "Shakespeare"? (R. Banks & Son, 1893)

    Public Record Office, Exchequer, Pipe Office, Declared Accounts, E.
  351/542, f.107v

    Purchas, Samuel, Hakluytus posthumus; or, Purchas his pilgrimes
  (William Stansby, London: 1625)

    Ramsbotham, Richard (2004). Who Wrote Bacon? William Shakespeare,
  Francis Bacon and James I, a Mystery of the Twenty-first Century.
  Temple Lodge Press. [442]ISBN [443]9781902636542

    Shelly, Percy Bysse: Defense of Poetry (1821)

    Smith, William Henry: Bacon and Shakespeare: An Inquiry Touching
  Players, Playhouses, and Play-writers in the Days of Elizabeth (John
  Russell Smith, 1857)

    Smith, William Henry, letter to [444]Egerton, Francis: Was Lord Bacon
  the author of Shakespeare's plays? (William Skeffington, 1856)

    [445]Spedding, James: "Of the Interpretation of Nature" in Life and
  Letters of Francis Bacon, 1872

    [446]Spedding, James: The Works of Francis Bacon (1872)

    Stronach, George (1904). [447]Mr. Sidney Lee and the Baconians.
  London: Gay & Bird.

    Vaughan, V.M., and Vaughan A.T., The Tempest, Arden Shakespeare
  (Thomson Learning: 1999)

    Various: A Mirror for Magistrates (1559)

    Wigston, W.F.C.: Bacon, Shakespeare and the Rosicrucians (1890)

    Wigston, W.F.C.: Hermes Stella or Notes and Jottings Upon the Bacon
  Cipher (London: G. Redway, 1890)

    Wright, Louis B., A Voyage to Virginia 1609 (University Press of
  Virginia: 1904)

    Wright, Louis B., The Cultural Life of the American Colonies (Courier
  Dover Publications: 2002)

Further reading[[448]edit]

    * The Woman Who Smashed Codes, by Jason Fagone, 2017, Key St.,

  [449]ISBN [450]978-0-06-243048-9, chapter 3

External links[[451]edit]

    * [452]The Francis Bacon Society
    * [453]Sir Francis Bacon's New Advancement of Learning
    * [454]The Shakespeare Authorship Page
    * [455]The George Fabyan Collection at the [456]Library of Congress
      has works about the Shakespeare-Bacon authorship controversy, as
      Fabyan published writings on principles of Baconian ciphers and
      their application in sixteenth and seventeenth-century books.

    * [457]v
    * [458]t
    * [459]e

  [460]Francis Bacon
  Philosophy
    * [461]Baconian method
    * [462]Idola fori
    * [463]Idola theatri
    * [464]Idola specus
    * [465]Idola tribus
    * [466]Salomon's House

  [467]Works
    * [468]Essays (1597)
    * [469]The Advancement of Learning (1605)
    * [470]Novum Organum (1620)
    * [471]History of the Reign of King Henry VII (1622)
    * [472]New Atlantis (1627)
    * [473]Complete Bibliography

  Family
    * [474]Alice Barnham (wife)
    * [475]Nicholas Bacon (father)
    * [476]Anne Bacon (mother)

  Other
    * [477]Bacon's cipher
    * Baconian theory of Shakespeare authorship
    * [478]Occult theories

    * [479]v
    * [480]t
    * [481]e

  [482]Shakespeare authorship question
  A series on alternative authorship theories for the works of
  [483]William Shakespeare
  Overview
    * [484]History of the Shakespeare authorship question
    * [485]Shakespeare attribution studies
    * [486]Is Shakespeare Dead?
    * [487]Declaration of Reasonable Doubt

  [488]ShakespeareCandidates1.jpg
  Theories
    * Baconian
    * [489]Crollalanza
    * [490]Derbyite
    * [491]Marlovian
    * [492]Nevillean
    * [493]Oxfordian
    * [494]Prince Tudor

  Candidates
    * [495]List of Shakespeare authorship candidates
    * [496]Francis Bacon
    * [497]Christopher Marlowe
    * [498]Henry Neville
    * [499]William Stanley
    * [500]Edward de Vere

  Proponents
    * [501]Joseph Adler
    * [502]Mark Anderson
    * [503]Babette Babich
    * [504]Delia Bacon
    * [505]Charles Wisner Barrell
    * [506]Charles Beauclerk
    * [507]Samuel Blumenfeld
    * [508]Alden Brooks
    * [509]Charles Champlin
    * [510]Jeffery Donaldson
    * [511]Ignatius L. Donnelly
    * [512]Bert Fields
    * [513]George Greenwood
    * [514]Joseph C. Hart
    * [515]Calvin Hoffman
    * [516]Derek Jacobi
    * [517]Richard Kennedy
    * [518]Abel Lefranc
    * [519]J. Thomas Looney
    * [520]Sandra Day O'Connor
    * [521]Charlton Ogburn
    * [522]Charlton Greenwood Ogburn
    * [523]John Orloff
    * [524]Orville Ward Owen
    * [525]John Denham Parsons
    * [526]Michael Rubbo
    * [527]Mark Rylance
    * [528]Henry Seymour
    * [529]Joseph Sobran
    * [530]John Paul Stevens
    * [531]Roger Stritmatter
    * [532]Mark Twain
    * [533]Bernard Mordaunt Ward
    * [534]Alexander Waugh
    * [535]Walt Whitman
    * [536]James Wilde

  [537]Authority control [538]Edit this at Wikidata
    * [539]LCCN: [540]sh85120834

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    * [543]Baconian theory of Shakespeare authorship

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