are already crystallizing into positive statements, and their scope is being enlarged. As the term "noverint," which we have elsewhere explained was intended to signify that the person to whom it was applied was a lawyer, it should alone invalidate this futile specimen of dreary speculation, unless valid proof can be adduced to sustain his connection with the profession. It may be observed that, while they were living, the names of these men were unknown on the title-pages of the books now accredited to them. Would they not have been only too glad to have their names exploited on title-pages, instead of having to content themselves with nominal authorship among contemporaries? BURTON The "Anatomy of Melancholy" first appeared in 1621 under the pen-name of "Democritus, Jr.," and contained an "Address to the Reader" of 72 pages and 783 numbered pages ending with "Finis." Bound with it is an "Epilogue" of six pages unnumbered in which are these words, "The last section shall be mine to cut the strings of Democritus' vizor, to unmaske and show him as he is." This is dated, "From my studie in Christ Church, Oxford, December 5, 1620," and signed "Robert Burton." No other edition has these leaves, which do not appear to form any part of the book, but to have been added after printing as an afterthought. Strangely enough in his Address the author makes this startling statement, “I will yet to satisfie and please myselfe, make an Utopia of mine owne, a new Atlantis, a poetical commonwealth of mine owne, in which I will freely domineere, build cities, make lawes, statues, as I list myselfe"; which is just what Bacon did not long after in his "New Atlantis." The "Anatomy" seems to have been the only book published under Burton's name, though in his will he left his executor to dispose of "all such Books as are written with my own hand." He also left for disposal "half my Melancholy M:RS A 281.. MELANCHOLIE. CONTAINING THE CAVSES The difference betwixt it, and melancholie with diverfe By T.Bright Doctor of Philicke 7 Ca Copy for Crips hath the other half." "Crips" was the publisher.1 Was Burton the real author of this work? In the British Museum is a copy of a book published in 1586, entitled “A Treatise of Melancholie," by T. Bright. We here give a photograph of its title-page made for us from this particular copy. It is noticeable that Bright, who was a writer as well as an M.D., resided at Cambridge in the earlier part of his life, and was an admirer of Lady Burghley, the sister of Lady Bacon. He died in 1615. Burton in sketches of his life is said to have received his inspiration for the "Anatomy" from him. Burton died in 1640–41. In the "Cipher" we are told that both Bright and Burton were names under which Bacon wrote, and that the different editions contain different (cipher) stories. 2 At the time the "Treatise" was published, Burton was but eleven years of age. The inference from this would be that the "Treatise" was rewritten and enlarged in 1621, and published as the "Anatomy" under the pseudonym "Democritus" as Burton's work, one half of the copyright of which he owned in partnership with the printer. 1 The Anatomy of Melancholy, p. viii. Democritus, Jr. Philadelphia, 1853. Cf. Memoir in edition of Burton's Anatomy of 1800. Nichols's Leicestershire, vol. 111, p. 415. Hearne's Reliquiæ, vol. 1, p. 288. 2 The Biliteral Cipher of Sir Francis Bacon (Introduction). XV THUMB MARKS THE thumb mark has come to be recognized as infallible evidence of personal identity; in fact, there is no other evidence in our day of equal importance in determining identity; hence our application of the term in an investigation of what we believe to be the thumb marks of Francis Bacon upon the Folio of 1623 and elsewhere. One who studies the works published under the name of Bacon, and those under the name "Shakespeare," finds himself at the end face to face with an astounding problem. Here are the same thoughts often expressed in the same manner, or modified to suit the occasion; and since he knows the impossibility of two minds thinking the same thoughts, and expressing them in like manner, though subject to different experiences through life, he is forced to the conviction that these works, though published under different names, are the product of one mind. Let us consider a few examples: "The Tempest" discloses a familiar acquaintance with seafaring terms, and the handling of a ship. In this play we find the knowledge which Bacon displays in his treatises entitled, "The Sailing of Ships"; "Versions of Bodies"; "Heat and Cold"; "Dense and Rare"; "The Ebb and Flow of the Sea"; and the "History of the Winds." "The Tempest" was one of his last, perhaps his very last drama, and these treatises were the result of his later studies. Bacon was associated with Southampton and others on the voyage which forms the subject of this drama. Two copies of Strachey's "Historie of Travaile into Virginia" still exist, one dedicated to Bacon, and the other to Sir Allen Apsley.1 A scene in "King Henry VI" is laid in the Temple Gardens. In this scene the rights to claimants to the throne are mooted. Yorke. (Plan) Great Lords and Gentlemen, what meanes this silence? Dare no man answer in a Case of Truth? Suff. Within the Temple Hall we were too low; The scene ends thus: Yorke. Thanks, gentle sirs. Come, let us foure to Dinner; I dare say II, 4. "This reference to the Temple Gardens," says Edward J. Castle, Q.C., of the Temple, "not saying whether the Inner or the Middle Temple is meant, curiously enough points to the writer being a member of Gray's Inn. An Inner or a Middle Temple man would have given his Inn its proper title." 2 Francis Bacon was a member of Gray's Inn. Two of the rules handed down for centuries prescribed that members should dine in fellowship of four, and should maintain absolute silence. As the knowledge of these rules was confined to the members, how could the actor be so well informed about them, or why should he be interested in them? They are evidently the unstudied expression of a mind having daily familiarity with them. In the same play is a dialogue between Joan of Arc and the Duke of Burgundy. The scene discloses Burgundy as an ally of the English, marching toward Paris. He is met by a herald of the King of France, who demands a parley which is granted. 1 Sloane MSS. No. 1622, Brit. Museum. Ashmolean MSS. No. 1754. Cf. The Historye of the Bermudaes. Hakluyt Society, London, 1882. 2 A Study, etc., p. 65. |