Now as to Jonah. I really dislike very much to tread upon this worthy's toes, and I should not do it had he not chosen to clap an injunction upon a volume of Tales of the Whales, which I wrote for children last summer, claiming that I was infringing upon his copyright, and feeling that I as a self-respecting man would never claim the discredit of having myself been the person he claims to have been. I will candidly confess that I am not proud of my achievements as Jonah. I was a very oily person even before I embarked upon the seas as Lord High Admiral of H.M.S. Leviathan. I was not a pleasant person to know. If I spent the night with a friend, his roof would fall in or his house would burn down. If I bet on a horse, he would lead up to the home-stretch and fall down dead an inch from the finish. If I went into a stock speculation, I was invariably caught on a rising or a falling market. In my youth I spoiled every yachting-party I went on by attracting a gale. When I came out the moon went behind a cloud, and people who began by endorsing my paper ended up in the poor-house. Commerce wouldn't have me. Boards of Trade everywhere repudiated me, and I gradually sank into that state of despair which finds no solace anywhere but on the sea or in politics, and as politics was then unknown I went to sea. The result is known to the world. I was cast overboard, ingulfed by a whale, which, in his defence let me be generous enough to say, swallowed me inadvertently and with the usual result. I came back, and life went on. Finally I came here, and when it got to the ears of the authorities that I was in Hades, they sent me back for the fourth time to earth in the person of William Shakespeare.
That is the whole of the Jonah story. It is a sad story, and I regret it; and I am sorry for the impostor when I reflect that the character he has assumed possesses attractions for him. His real life must have been a fearful thing if he is happy in his impersonation, and for his punishment let us leave him where he is. Having told the truth, I have done my duty. I cheerfully resign my claim to the personality he claims—I relinquish from this time on all right, title, and interest in the name; but if he ever dares to interfere with me again in the use of my personal recollections concerning the inside of whales I shall hale him before the authorities.
And now, finally, I come to Shakespeare, whom I have kept for the last, not because he was the last chronologically, but because I like to work up to a climax.
Previous to my existence as Baron Munchausen I lived for a term of years on earth as William Shakespeare, and what I have to say now is more in the line of confession than otherwise.
In my boyhood I was wild and I poached. If I were not afraid of having it set down as a joke, I should say that I poached everything from eggs to deer. I was not a great joy to my parents. There was no deviltry in Stratford in which I did not take a leading part, and finally, for the good of Warwickshire, I was sent to London, where a person of my talents was more likely to find congenial and appreciative surroundings. A glance at such of my autographs as are now extant will demonstrate the fact that I never learned to write; a glance at the first folios of the plays attributed to me will likewise show that I never learned to spell; and yet I walked into London with one of the most exquisite poems in the English language in my pocket. I am still filled with merriment over it. How was it, the critics of the years since have asked—how was it that this untutored little savage from leafy Warwickshire, with no training and little education, came into London with “Venus and Adonis” in manuscript in his pocket? It is quite evident that the critic fraternity have no Sherlock Holmes in their midst. It would not take much of an eye, a true detective's eye, to see the milk in that cocoanut, for it is but a simple tale after all. The way of it was this: On my way from Stratford to London I walked through Coventry, and I remained in Coventry overnight. I was ill-clad and hungry, and, having no money with which to pay for my supper, I went to the Royal Arms Hotel and offered my services as porter for the night, having noted that a rich cavalcade from London, en route to Kenilworth, had arrived unexpectedly at the Royal Arms. Taken by surprise, and, therefore, unprepared to accommodate so many guests, the landlord was glad to avail himself of my services, and I was assigned to the position of boots. Among others whom I served was Walter Raleigh, who, noting my ragged condition and hearing what a roisterer and roustabout I had been, immediately took pity upon me, and gave me a plum-colored court-suit with which he was through, and which I accepted, put upon my back, and next day wore off to London. It was in the pocket of this that I found the poem of “Venus and Adonis.” That poem, to keep myself from starving, I published when I reached London, sending a complimentary copy of course to my benefactor. When Raleigh saw it he was naturally surprised but gratified, and on his return to London he sought me out, and suggested the publication of his sonnets. I was the first man he'd met, he said, who was willing to publish his stuff on his own responsibility. I immediately put out some of the sonnets, and in time was making a comfortable living, publishing the anonymous works of most of the young bucks about town, who paid well for my imprint. That the public chose to think the works were mine was none of my fault. I never claimed them, and the line on the title-page, “By William Shakespeare,” had reference to the publisher only, and not, as many have chosen to believe, to the author. Thus were published Lord Bacon's “Hamlet,” Raleigh's poems, several plays of Messrs. Beaumont and Fletcher—who were themselves among the cleverest adapters of the times—and the rest of that glorious monument to human credulity and memorial to an impossible, wholly apocryphal genius, known as the works of William Shakespeare. The extent of my writing during this incarnation was ten autographs for collectors, and one attempt at a comic opera called “A Midsummer's Nightmare,” which was never produced, because no one would write the music for it, and which was ultimately destroyed with three of my quatrains and all of Bacon's evidence against my authorship of “Hamlet,” in the fire at the Globe Theatre in the year 1613.
These, then, dear reader, are the revelations which I have to make. In my next incarnation I was the man I am now known to be, Baron Munchausen. As I have said, I make the exposure with regret, but the arrogance of these impudent impersonators of my various personalities has grown too great to be longer borne. I lay the simple story of their villany before you for what it is worth. I have done my duty. If after this exposure the public of Hades choose to receive them in their homes and at their clubs, and as guests at their functions, they will do it with a full knowledge of their duplicity.
In conclusion, fearing lest there be some doubters among the readers of this paper, I have allowed my friend, the editor of this esteemed journal, which is to publish this story exclusively on Sunday next, free access to my archives, and he has selected as exhibits of evidence, to which I earnestly call your attention, the originals of the cuts which illustrate this chapter—viz:
I. A full-length portrait of Eve as she appeared at our first meeting.
II. Portraits of Cain and Abel at the ages of two, five, and seven.
III. The original plans and specifications of the Ark.