It was clear that Bacon, with his unparalleled keenness of intellect, must foresee that Hamlet would be pronounced his greatest work. That play would be most minutely scanned and critically studied. It was to Hamlet, therefore, that the trembling neophyte turned as a promising field for exploration. Now, following everywhere the Donnellian method, at what part of Hamlet should a beginning be made? Clearly, one must look for something disconnected from and out of harmony with the rest of that magnificent drama; something obviously dragged in by the breeches for a purpose. Glancing over this old folio, the first obvious interpolation appeared to be the mad songs of Ophelia. Here is matter senseless by itself. To introduce it, the writer was compelled to have Ophelia go mad and talk nonsense. And those stanzas beginning, “Then up he rose and donned his clothes,” are not only foolish but indelicate. Here was a suggestion. It warranted an experiment. It will be remembered that one of Mr. Donnelly’s root numbers is 523. This mad song occurs on page 273 of the folio. Subtracting 273 from 523, we get 250. Count from the top of the column on that page in which the song is found, and the 250th word is “donned,” printed thus, “don’d.” In enumerating, it is to be observed that “its selfe” and “to morrow” make, properly speaking, but one word each, and must be counted so. To point the student at once to the key word, italicized and bracketed words are here included in the count. Now the word “don,” occurring in “Titus Andronicus,” is printed “d’on,” to indicate its formation. Here the apostrophe is omitted, as if to call attention to the combination of letters, “don.” This is at least suspicious.