[91] See Spedding’s Introduction, p. xix. It is, I believe, contended by some that the word here is not “Philipp,” but as Mr. Spedding so read it when the manuscript was very much clearer than it is now, we may, I think, be content to accept his evidence, more especially as close to it, a little to the left, stands the word “Phillipp” still plain for all to read. Mr. Burgoyne, therefore, includes this letter of Sir Philip Sydney among the subjects mentioned in the supposed list of contents.
[92] The items in italics are mentioned in the list on the outside page. It will be seen that the latest date of any article of the contents is 1596. Note that six of the nine pieces are by Francis Bacon.
[93] See Spedding’s Introduction, p. xvi.
[94] “The Northumberland House Manuscript,” says Spedding, “is for the most part remarkably clear and correct; it is very seldom, that there can be any doubt what letter is intended, and the mistakes are very few.” See Mr. Burgoyne’s Facsimile.
[95] Mr. Dowse says that the only explanation of this entry that he has heard is that it was suggested by Bacon’s behaviour in the Essex case. I have, however, heard another, viz., that it is Bacon’s own reflection on the deceits and vanities of life.
[96] “The name of Shakespeare,” writes Mr. Spedding (p. xxv.) “is spelt in every case as it was always printed in those days, and not as he himself in any known case ever wrote it.”
[97] “Peeps” certainly seems better than “spies,” and it has been suggested, therefore, that this gives the line as the poet first conceived it, the alteration having been made to meet the exigency of rhyme.
[98] “Bacon,” writes Mr. A. W. Pollard, “as we should expect, reckoning his year from January.” The copy in the British Museum was bought Septimo die Februarii 39 E. R.
[99] This argument holds even if, as Mr. Dowse seeks to prove, the transcription was never carried out in the Northumberland volume. No penman would have noted the Essays for future copying if they were already in print.
[100] “To Algernoun, Lord Percy,” the Earl’s son and heir, whom he addresses as “My right noble Pupill and joy of my heart,” Davies writes, “The Italian hand I teach you.” Would that he could have taught it to William Shakspere of Stratford! It was in his time, says Mr. Dowse, “fast superseding the old court-hand.” It was, certainly, fast superseding the old German, or “Old English,” hand in which Shakspere wrote. And the author of Twelfth Night must have known the value of that Italian hand which was at that time rapidly “winning its way in cultured society,” as Sir Sidney Lee tells us, for does not he make Malvolio say, “I think we do know the sweet Roman hand”? But Mr. Dowse does not seem to have known the meaning of the term “court-hand,” which is a technical term for the scripts employed by lawyers in drawing up charters and other legal documents, and can very seldom be described as “beautiful.”