SHAKESPEARE AND BACON.
Question. What is your opinion of Ignatius Donnelly as a literary man irrespective of his Baconian theory?
Answer. I know that Mr. Donnelly enjoys the reputation of being a man of decided ability and that he is regarded by many as a great orator. He is known to me through his Baconian theory, and in that of course I have no confidence. It is nearly as ingenious as absurd. He has spent great time, and has devoted much curious learning to the subject, and has at last succeeded in convincing himself that Shakespeare claimed that which he did not write, and that Bacon wrote that which he did not claim. But to me the theory is without the slightest foundation.
Question. Mr. Donnelly asks: "Can you imagine the author of such grand productions retiring to that mud house in Stratford to live without a single copy of the quarto that has made his name famous?" What do you say?
Answer. Yes; I can. Shakespeare died in 1616, and the quarto was published in 1623, seven years after he was dead. Under these circumstances I think Shakespeare ought to be excused, even by those who attack him with the greatest bitterness, for not having a copy of the book. There is, however, another side to his. Bacon did not die until long after the quarto was published. Did he have a copy? Did he mention the copy in his will? Did he ever mention the quarto in any letter, essay, or in any way? He left a library, was there a copy of the plays in it? Has there ever been found a line from any play or sonnet in his handwriting? Bacon left his writings, his papers, all in perfect order, but no plays, no sonnets, said nothing about plays—claimed nothing on their behalf. This is the other side. Now, there is still another thing. The edition of 1623 was published by Shakespeare's friends, Heminge and Condell. They knew him—had been with him for years, and they collected most of his plays and put them in book form.
Ben Jonson wrote a preface, in which he placed Shakespeare above all the other poets—declared that he was for all time.
The edition of 1623 was gotten up by actors, by the friends and associates of Shakespeare, vouched for by dramatic writers—by those who knew him. This is enough.
Question. How do you explain the figure: "His soul, like Mazeppa, was lashed naked to the wild horse of every fear and love and hate"? Mr. Donnelly does not understand you.
Answer. It hardly seems necessary to explain a thing as simple and plain as that. Men are carried away by some fierce passion— carried away in spite of themselves as Mazeppa was carried by the wild horse to which he was lashed. Whether the comparison is good or bad it is at least plain. Nothing could tempt me to call Mr. Donnelly's veracity in question. He says that he does not understand the sentence and I most cheerfully admit that he tells the exact truth.