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"Mellifluous Shakespeare whose enchanting quill Commanded mirth and passion, was but 'Will." Does Heywood not identify the actor with the author? No quibbles serve against the evidence. We need not pursue the allusions later than Shakespeare's death, or invoke, at present, Ben Jonson's panegyric of 1623. As to Davies, his dull and obscure epigram is addressed "To our English Terence, Mr.
In the beginning of March 1623, the good folks of that city, when they arose one morning, were surprised to find all their walls placarded with the following singular manifesto: "We, the deputies of the principal College of the Brethren of the Rose-cross, have taken up our abode, visible and invisible, in this city, by the grace of the Most High, towards whom are turned the hearts of the just.
In "these memorable words," every non-Baconian sees Ben's opinion about his friend's lack of scholarship. Greenwood has already adverted often to "these memorable words." " . . . if this testimony is to be explained away as not seriously written, then are we justified in applying the same methods of interpretation to Jonson's other utterances as published in the Folio of 1623.
From Florence he passed to Spain; and his arrival was happily timed probably by his ever anxious kinsman; for a few days later Prince Charles and Buckingham landed, on the Spanish Marriage business; and so agreeable was young Digby that, in spite of Buckingham's dislike of his name, he became part of the Prince's household, and returned with the party in October, 1623.
Therefore the actor cannot have been the author, for the actor wholly neglected to collect his printed and to print his manuscript works." This argument is equally potent against the authorship of the plays by Bacon. He, too, left the manuscripts unpublished till 1623. "But he could not avow his authorship," cry Baconians, giving various exquisite reasons.
The tower, the internal arch of which is peculiar, has been reconstructed in Perp. times. The sanctuary contains a trefoiled piscina and an aumbry. Inside the church doorway is a bench bearing date 1623; it was originally the parish bier. Seavington St Michael, a parish 4 m. E. of Ilminster. The church is small, without tower or aisles. Outside, exposed to the weather, is the effigy of a woman.
In 1623, when Milton was a boy of fifteen, John Heminge and Henry Condell, "only to keep the memory of so worthy a friend and fellow alive as was our Shakspere," had given to the world the folio edition of Shakspere's works, very anxious that the said folio might commend itself to "the most noble and incomparable pair of brethern," William, Earl of this, and Philip, Earl of that, and exceedingly unconscious that, next to the production of the works themselves, they were doing the most important thing done, or likely to be done, in the literary history of the world.
Again, the Merry Wives of the Folio, is nearly twice as long as the quarto of 1619, yet keeps old errors. How can we explain the reckless retention of errors, and also the large additions and improvements? Did he, for the Folio of 1623, nearly double The Merry Wives in extent, and also leave all the errors of the fourth quarto uncorrected?
The picture painted in a letter from Richard to Edward Bennett on June 9, 1623, written from Bennett's Welcome, was one of new supplies, fears of encroachments, growth and thankfulness: "Our men stande well to ther helthe God be thanced and I hope to make you a good crope, bothe for tobaco and corne. The forte is abuildinge apase."
The last-named source of irritation had led to a "massacre" of Englishmen at Amboyna in 1623, after which the English abandoned the East Indian islands to the Dutch East India Company, concentrating their attention upon India, where the acquisition of settlements at Calcutta, Madras, and Bombay laid the foundations of the three great Presidencies of the British Empire in India.
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