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To these efforts of despair we return later, when we hope to justify what is here deliberately advanced. Meanwhile we study Mr. Greenwood's attempts to destroy or weaken the testimony of contemporary literary allusions, in prose or verse, to the plays as the work of the actor. Mr.
Amelia B. Welby's poems are distinguished for sentiment and melody. The "Passion Flowers" and other poems of Julia Ward Howe are full of ardor and earnestness. Mrs. Sigourney's metrical writings are cherished by a large class of readers. Hannah F. Gould has written many pretty and fanciful poems, and Grace Greenwood's "Ariadne" is a fine burst of womanly pride and indignation.
Greenwood's advantage as he supposes. The genius of Burns, of course, is far indeed below the level of that of the author of the Shakespearean plays. Burns almost always has a key-note already touched, as confessedly in the poems of his predecessor, Fergusson; of Hamilton of Gilbertfield; in songs, popular or artistic, and so forth. He "alchemised" his materials, as Mr.
In any case, Bacon was in a tragic position almost unexampled; and was at once overwhelmed by work, and, one must suppose, by acute distress of mind, in the case of Essex. Thus I would reply to Mr. Greenwood's amazement that Shakspere, a hard creditor, and so forth, should none the less have been able to write his plays.
Long enough ago, again, to allow that lowland to be sawn out into hills and valleys, ridges and gulleys, which are due to the action of Colonel George Greenwood's geologic panacea, 'Rain and Rivers, and to nothing else.
Lord Kingsbury was still very ill, so ill as to have given rise to much apprehension; but still it would be necessary to discuss this letter with him, ill as he might be. Only it should be first discussed with Mr. Greenwood. Mr. Greenwood's face became flatter, and his jaw longer, and his eyes more like gooseberries as he read the letter.
The Shakspere of later life, the well-to-do Shakspere, the purchaser of the right to bear arms; so bad at paying one debt at least; so eager a creditor; a would-be encloser of a common; a man totally bookless, is, to Mr. Greenwood's mind, an impossible author of the later plays. Here, first, are moral objections on the ground of character as revealed in some legal documents concerning business.
Greenwood's Baconian "supposing" is only a working hypothesis: not a confirmed belief. Mr. Greenwood writes, in the first page of his Preface: "It is no part of my plan or intention to defend that theory," "the Baconian theory." Apparently it pops out contrary to the intention of Mr. Greenwood.
Nothing follows from all this: we merely see that, in Mr. Greenwood's private opinion, the actor might write even better than George Wilkins, but could not write Venus and Adonis. Will, therefore, though bookless, is not debarred here from the pursuits of literature, in partnership with Wilkins.
The words were as familiar as their mother tongue, and Greenwood's authoritative voice in chapel, mill, and trade meetings, was quite as intimate and potential.
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