It is “we,” the living and recognised dramatists, whom Shakespeare is said to plagiarise from; so boldly that “_We_, _the robbed_, leave rage, and pity it.” Ben does not mean that Shakespeare is publishing, as his own, whole plays by some other author, but that his works are tissues of scraps stolen from his contemporaries, from “us, the robbed.” Where are to be found or heard of any works by a player-poet of 1601, the would-be chief dramatist of the day, except those signed William Shak(&c.). There are none, and thus Ben, at this date, is identifying Will Shakspere, the actor, with the author of the Shakespearean plays, which he expects to reach posterity; “after times may judge them to be his,” as after times do to this hour. Thus Ben expresses, in accordance with his humour on each occasion, most discrepant opinions of Will’s works, but he never varies from his identification of Will with the author of the plays. The “works” of which Ben wrote so splenetically in _Poet-Ape_, were the works of a Playwright-Actor, who could be nobody but the actor Shakespeare, as far as Ben then knew. If later, and in altered circumstances, he wrote of the very same works in very different terms, his “utterances” are “not easily reconcilable” with each other,—_whoever_ the real author of the works may be. If Bacon, or Mr. Greenwood’s anonymous equivalent for Bacon, were the author, and if Ben came to know it, his attitudes towards the _works_ are still as irreconcilable as ever. Perhaps Baconians and Mr. Greenwood might say, “as long as Ben believed that the works were those of an Actor-Playwright, he thought them execrable. But when he learned that they were the works of Bacon (or of some Great One), he declared them to be more than excellent”—_but not to Drummond_. I am reluctant to think that Jonson was the falsest and meanest of snobs. I think that when his old rival, by his own account his dear friend, was dead, and when (1623) Ben was writing panegyric verses about the first collected edition of his plays (the Folio), then between generosity and his habitual hyperbolical manner when he was composing commendatory verses, he said,—not too much in the way of praise,—but a good deal more than he later said (1630?), in prose, and in cold blood. I am only taking Ben as I find him and as I understand him. Every step in my argument rests on well-known facts. Ben notoriously, in his many panegyric verses, wrote in a style of inflated praise. In conversation with Drummond he censured, in brief blunt phrases, the men whom, in verse, he had extolled. The Baconian who has not read all Ben’s panegyrics in verse, and the whole of his conversations with Drummond, argues in ignorance. We now come to Ben’s panegyrics in the Folio of 1623. Ben heads the lines,