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nnot get evidence correct enough for Mr. Greenwood.
Destitute as I am of legal training, I leave this notable way of disposing of the evidence to the judgement of the Bench and the Bar, a layman intermeddleth not with it. Still, I am, like other readers, on the Jury addressed,--I do not accept the arguments. Miror magis, as Mr. Greenwood might quote Latin. We have already seen one example of this argument, when Heywood speaks of the author of poems by Shakespeare, published in The Passionate Pilgrim. Heywood does nothing to identify the actor Shakspere with the author Shakespeare, says Mr. Greenwood. I shall prove that, elsewhere, Heywood does identify them, and no man knew more of the world of playwrights and actors than Heywood. I add that in his remarks on The Passionate Pilgrim, Heywood had no need to say "by W. Shakespeare I mean the well-known actor in the King's Company." There was no other William Shakspere or Shakespeare known to his public.
It is to no purpose that Mr. Greenwood denies, as we have seen above, that the allusions "disprove the theory that the true authorship was hidden under a pseudonym." That is an entirely different question. He is now starting quite another hare. Men of letters who alluded to the plays and poems of William Shakespeare, meant the actor; that is my position. That they may all have been mistaken: that "William Shakespeare" was Bacon's, or any one's pseudonym, is, I repeat, a wholly different question; and we must not allow the critic to glide away into it through an "at any rate"; as he does three or four times. So far, then, Mr. Greenwood's theory that it was impossible for the actor Shakspere to have been the author of the plays, encounters the difficulty that no contemporary attributed them to any other hand: that none is known to have said, "This Warwickshire man cannot be the author."
"Let us, however, examine some of these allusions to Shakspere, real or supposed," says the critic. {138a} He begins with the hackneyed words of the dying man of le