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. Greenwood rests on an argument which perhaps could only have occurred to legal minds, originally, perhaps to the mind of Judge Webb, not in the prime vigour of his faculties. Not very many literary allusions remain, made during Will’s life-time, to the plays of Shakespeare. The writers, usually, speak of “Shakespeare,” or “W. Shakespeare,” or “Will Shakespeare,” and leave it there. In the same way, when they speak of other contemporaries, they name them,—and leave it there, without telling us “who” (Frank) Beaumont, or (Kit) Marlowe, or (Robin) Greene, or (Jack) Fletcher, or any of the others “were.” All interested readers knew who they were: and also knew who “Shakespeare” or “Will Shakespeare” was. No other Will Shak(&c.) was prominently before the literary and dramatic world, in 1592–1616, except the Warwickshire provincial who played with Burbage. But though the mere names of the poets, Ben Jonson, Kit Marlowe, Frank Beaumont, Harry Chettle, and so forth, are accepted as indicating the well-known men whom they designate, this evidence to identity does not satisfy Mr. Greenwood, and the Baconians, where Will is concerned. “We should expect to find allusions to dramatic and poetical works published under the name of ‘Shakespeare’; we should expect to find Shakespeare spoken of as a poet and a dramatist; we should expect, further, to find some few allusions to Shakespeare or Shakspere the player. And these, of course, we do find; but these are not the objects of our quest. What we require is evidence to establish the identity of the player with the poet and dramatist; to prove that the player was the author of the _Plays_ and _Poems_. _That_ is the proposition to be established, and _that_ the allusions fail, as it appears to me, to prove,” says Mr. Greenwood. He adds, “At any rate they do not disprove the theory that the true authorship was hidden under a pseudonym” {136a}—which raises an entirely different question. Makers of allusions to the plays must identify Shakespeare with the actor, explicitly; must tell us who this Shakespeare was, though they need not, and usually do not, tell us who the other authors mentioned were; and though the world of letters and the Stage knew but one William Shakspere or Shakespeare, who was far too familiar to them to require further identification. But even if the makers of allusions did all this, and said, “by W. Shakespeare the poet, we mean W. Shakespeare the actor”—_that_ is not enough. For they may all be deceived, may all believe that a bookless, untutored man is the author. So we cannot get evidence correct enough for Mr. Greenwood.