For several months previous to 1623 Jonson’s mind had necessarily been concentrated on Shakespeare; collecting manuscripts; squaring rival publishers; appreciating contributions offered by admirers (Fletcher perhaps and Chapman among others); amending originals, Julius Cæsar for instance; acting as editor-in-chief of the great book; meditating his Ode to “Shakespeare,” the man he lov’d and honoured (on this side idolatry) as much as any. (See Discoveries, 1641, for this italicised passage).
There are many and various indications to justify the hypothesis that the Masque as a whole was a tribute of love and admiration for “Shakespeare.” Here are some of them. (1) Love is the incentive to the freeing of the “wonders”—the “glories”—that so charmed the Chorus of the Masque. Love for “Shakespeare” was probably Jonson’s leading motive for undertaking all the drudgery connected with the First Folio. (2) The mention of “envie” by the Chorus gives one to think. Deprecation of envy is the burden of the enigmatical and portentous exordium of Jonson’s Ode to Shakespeare. (3) For reasons unexplained by his accredited biographers, the plays of Shakespeare had long been held back or secluded, but were then on the eve of publication or disclosure; not indeed “cured and perfect of their limbes”—to quote the editorial figment in the First Folio—but certainly less damaged, and imperfect than even Jonson, at an earlier stage, can have expected. (4) The audience of Time Vindicated is given to understand that “the Bosse of Belinsgate,” a nickname for Jonson, “has a male-poem in her belly now, big as a colt, that kicks at Time already.” In my opinion this Time-defying poem was none other than the famous Ode to Shakespeare. These indications alone are sufficient to justify the above-mentioned hypothesis that the Masque as a whole was a tribute of love and admiration for “Shakespeare.” On no other hypothesis would the title, Time Vindicated, have been appropriate or even excusable. Whereas no other conceivable title would have been so absolutely appropriate, if “Shakespeare” were, as I believe he was, the hero of the Masque; in precisely the same sense, by the way, in which he was the hero of the Ode; the only Poet worthy to be compared, in the words of the Ode, with “all that insolent Greece or haughtie Rome sent forth, or since did from their ashes come.”
Another significant feature of the Masque is the display of anxiety to safeguard the spectacular revelation of the Masquers from the attentions of inquisitive observers, an anxiety which requires the drastic expulsion of the Curious. This anxiety, as I read it, betokened a secret intimately connected with the First Folio. Before developing this contention, it may be well to clear the ground, not only of Heminge and Condell, but also of the Stratford gentleman’s representatives. Heminge and Condell were probably mere dummies who gave Jonson carte blanche to say in their names anything whether strictly true or not, which he thought conducive to the end in view; the prefatory address ostensibly subscribed by them is too Jonsonian to admit of any doubt on this score. As for “Mr. Shakspere,” he had long been dead and buried, and his commonplace Will knows nothing of plays, manuscripts, books, or anything that matters. And as for his representatives—had they been consulted at all—they would have welcomed, rather than vetoed publicity.
The object of these precautions to secure secrecy must have been a persona grata to the King, Prince, and Court; this might go without saying. A significant conjuration against hunting “Mankind to death” suggests that he was also considered, by the Prince among others, a victim of malicious persecution. For other clues we have to go back to the Antimasque. The Curious have contrived to pick up several very useful items of information about the mysterious object in question. They know for instance that he is or has been served by printers and compositors so devoted to him, that they were quite content to “worke eyes out for him,” in dark holes and corners, the better to “conceale” them. They know too that a typical admirer of certain “poems,” which he was in the habit of carrying about “in his pocket,” made the ridiculous mistake of addressing his congratulations “to the wrong party”: to Chronomastix, the “subject” of the Antimasque, whom he mistook for the “Poet.” This blunder is crucial. The secret so ostentatiously safeguarded was a secret of pseudonymity. The Poet of the Masque (and of our quest)—the very antithesis of the blatant poetaster of the Antimasque—was a “maker” who concealed his personality behind a pen-name.
The evidence that Francis Bacon was a “concealed” poet is incontestable. A private letter of his is conclusive, though Aubrey’s corroborative evidence is by no means negligible. Moreover, Bacon, besides being a persona grata at Court, was probably regarded by many notabilities not as a criminal, but rather as a sufferer for the faults of his day and generation. Ben Jonson’s views may be gathered from his Discoveries (1641) where he tells that Bacon was “one of the greatest men ... that had beene in many Ages ... perform’d that in our tongue which may be compar’d or preferr’d to, either insolent Greece or haughtie Rome.... So that hee may be nam’d and stand as the marke and akme of our language.... In his adversity I ever prayed that God would give him strength: for Greatnesse he could not want.” Francis Bacon then was the mysterious poet of Time Vindicated. That Bacon was not the only concealed poet of those days is probably true. London might have teemed with concealed poets. But the only concealed poet who satisfies the many other conditions is Francis Bacon. Additional evidence that we are on the right track is supplied by the Antimasque. The “Nosed” ones among the Curious have smelt out apropos of Chronomastix that “a schoolmaster is turning all his workes into Latin.” Now it happens that about 1623 Bacon wrote to an intimate friend: “My labours are most set to have those works ... Advancement of Learning ... the Essays (etc), well translated into Latin by the help of some good pens that forsake me not.” The Advancement of Learning in Latin form, De Aug: Scientiarum, appeared in 1623, dedicated to Prince Charles the dedicatee of our Masque (and Camden, Jonson’s “reverend” master may have helped in the translation—but this is mere conjecture).[32]
The figure Chronomastix is not easy to range or class; for he is not a caricature proper. He salutes Fame with impudent assurance (in the Antimasque) as his “Deare Mistris” and tells her that “he revells so in rime” for no other “end” than “to serve Fame ... and get himselfe a name.” Fame, here as elsewhere, the mouthpiece of Jonson, browbeats the blatant creature: “Away, I know thee not, wretched Impostor, Creatire of glory, Mountebanke of witte, selfe-loving Braggart, ... Scorne of all the Muses, goe revell with thine ignorant admirers, let worthy names alone.” A little abashed by this rebuff, Chronomastix appeals to the Curious for sympathy; tells them that his “glorious front and word at large triumphs in print at my admirers charge”; and finishes his harangue by this invitation to his friends and admirers: “Come forth that love me, and now or never, spight of Fame, approve me.” Chronomastix therefore whatever he be, is the very antithesis of a self-effacing poet or maker. He belongs I think to the same genus as those fantastic portraits, Landru chez lui, etc., lately exhibited in Piccadilly by the National Portrait Society, partly to amuse the public and partly to puzzle quidnuncs. He was a freak in other words, and his function was to amuse outsiders and put curiosity off the scent.
Turn we now from the figure Chronomastix, to the “Figure” which mars the front page of the First Folio: the sorry “Figure ... wherein the Graver had a strife with Nature to out-doo the life”; as “B. J.” (Ben Jonson) significantly informs “the Reader.” “B. J.’s” innuendo does not stop here; he follows it up by explicitly warning all readers to “looke not on” the “picture,” but on the “Booke.” The warning seems almost superfluous; for the effigy cannot be identified with portrait or bust of any human being. Twin brother to Chronomastix, the thing is a freak expressly designed to prevent inquisitive persons, ourselves among others, from scrutinising the fiction then launched on the world.
Reverting once more to the Antimasque and the orgiastic dance at the end of which the Curious carry away their deity Chronomastix: one or other of the deluded adorers taunts Fame in these words: “He scornes you and defies you, h’as got a Fame on’s owne, as well as a Faction, and these will deifie him, to despite you.” Fame replies: “I envie not the Apotheosis. ’Twill prove but deifying of a Pompion.” When these words were spoken, it is quite possible that neither the figure, nor the Ode, nor the prefatory addresses had reached finality. But Jonson’s inside knowledge of the whole project would enable him to forecast important results. One of these results, in my opinion, was that a Pumpkin would be deified by posterity. In this forecast a note of misgiving is perceptible enough; but of spitefulness there is hardly a trace; for after all, the pumpkin is a deserving vegetable—the stress here is on the word deserving, since that is the epithet by which the surviving Burbages, in perfect good temper, described the deceased Shakspere. This apotheosis idea, I may add, is also prominent in the Shakespeare Ode at the point where Jonson pulls himself up: “But stay, I see thee to the hemisphere advanced and made a constellation there.” In the Ode however the apostrophe—half banter, half congratulation—is entirely free from regret or misgiving.
From the point of view of the privileged few who were in the secret, Time Vindicated and the Shakespeare Folio were, I consider, parts of a superlative Act of Homage to the greatest of modern poets. From Jonson’s special point of view they were a pious fraud, in which at the behest of disinterested love and admiration for Bacon, he consented to undertake the chief rôle. After the death of Bacon Jonson’s mood may have undergone some modification. Certain it is that the Ode, his finest poem, is excluded from the first edition, Vol. II, of his collected Works, and that in his Discoveries he tells “posterity” certain truths about Shakespeare which were not even suggested in the Ode.
Hitherto our thoughts have been preoccupied with Ben Jonson. They shall now be devoted more closely to Bacon and the state of his mind and feelings about 1623. In a pathetic letter of his to King James, Bacon comforts himself with the knowledge that his fall was not the “act” of his Sovereign, and then proceeds: “For now it is thus with me: I am a year and a half old in misery ... mine own means through mine own improvidence are poor and weak.... My dignities remain marks of your favour, but burdens of my present fortune. The poor remnants ... of my former fortunes in plate and jewels I have spread upon poor men unto whom I owed, scarcely leaving myself bread.... I have often been told by many of my Lords (of your Council), as it were in excusing the severity of the sentence, that they knew they left me in good hands.... Help me, dear Sovereign ... so far as I ... that desire to live to study, may not be driven to study to live.”