"Hear him but reason in divinity, And, all-admiring, with an inward wish You would desire the king were made a prelate: Hear him debate of commonwealth affairs, You would say, it hath been all-in-all his study: List his discourse of war, and you shall hear A fearful battle render'd you in music: Turn him to any cause of policy, The Gordian knot of it he will unloose, Familiar as his garter; that, when he speaks, The air, a charter'd libertine, is still, And the mute wonder lurketh in men's ears, To steal his sweet and honey'd sentences; So that the art and practic part of life Must be the mistress to this theoric: Which is a wonder, how his grace should glean it, Since his addiction was to courses vain; His companies unletter'd, rude, and shallow; His hours fill'd up with riots, banquets, sports; And never noted in him any study, Any retirement, any sequestration From open haunts and popularity." To this the Bishop of Ely answers very sagely, "The strawberry grows underneath the nettle." We cannot but conceive, however, that, by a beneficent provision of destiny, Shakespeare's genius found in the highest culture of his day precisely the nourishment it required. [1] According to W. H. Wyman's _Bibliography of the Bacon-Shakespeare Controversy_ (Cincinnati, 1884), there had been published up to that date 255 books, pamphlets, and essays as to the authorship of Shakespeare's plays. In America 161 treatises of considerable bulk had been devoted to the question, and in England 69. Of these, 73 were decidedly opposed to Shakespeare's authorship, while 65 left the question undetermined. In other words, out of 161 books, only 23 were in favour of Shakespeare. And since then the proportion has no doubt remained much the same. [2] One of her many followers, an American lawyer, Ignatius Donelly formerly Member of Congress and Senator from Minnesota, claims to have found the key. His crazy book is called _The Great Cryptogram: Francis Bacon's Cipher in the so-called Shakespeare Plays_. Donelly claims that among Bacon's papers he has discovered a cipher which enables him to extract here and there from the First Folio letters which form words and phrases distinctly stating that Bacon is the author of the dramas, and how Bacon embodied in the First Folio a cipher-confession of his authorship. It sets forth how Bacon embodied in the First Folio a cipher-confession of his authorship. Apart from the general madness of such a proceeding, Bacon must thus have made the editors, Heminge and Condell, his accomplices in his meaningless deception, and must even have induced Ben Jonson to confirm it by his enthusiastic introductory poem.