"You have both said well; And on the cause and question now in hand Have gloz'd,--but superficially; not much Unlike young men, whom Aristotle thought Unfit to hear moral philosophy."
Aristotle really alluded to "political philosophy;" and when we find that Bacon made the same mistake in his "Advancement of Learning," printed before the play, we think we can see that book in Shakspeare's hand, or overhear with him the error lapsing in the flow of conversation. But perhaps the passage which includes it was one of the parts of "Troilus and Cressida" which did not proceed from Shakspeare's pen. Certainly there was not poetic license enough in Bacon's mind to plant a seaport in Bohemia, and make Aristotle a contemporary of the Trojans. Neither would he have affronted his historical sense and hurt his reputation as a scholar by importing into "Henry VI.," and attributing to Jack Cade and his followers, the socialistic doctrine and mad behavior which Holingshed shows to have belonged to Wat Tyler in the reign of Richard II. It is also strange that the scholar, Bacon, should have put into the mouth of a person in "Coriolanus," i. 4, line 57, that allusion to Cato,--
"Thou wast a soldier Even to Cato's wish."
M. Porcius Cato was born B.C. 234: the play belongs to B.C. 490. And if anybody knew when Galen was born, A.D. 130, it was Bacon; yet Menenius, in the same play, ii. 1, line 128, says, "The most sovereign prescription in Galen is but empiricutic." But Shakspeare's main object was to write a play, and co-ordinate his groups. So he paired off his characteristics with each other to gratify the poetic exigency of the play, and not always to render strict tribute to the Muse of History.
Can anybody positively deny that Shakspeare stole away from the Mermaid more often then his fellow-actors and poets relished, to spend the evening with Essex at Gray's Inn, perhaps while Bacon was busy upon his "Characters of Julius and Augustus Cæsar" in 1607-8,--for not long after that the famous tragedy appeared; perhaps to urge him with the happy suggestions of friendship to write his Defence of Shakspeare's own dear Essex? There was, indeed, that "semblable coherence" between the spirits of the philosopher and the poet which qualified them to be mutual instructors; and the mobile and apprehensive intellect of the poet could absorb without books the thoughts that filled the air round Bacon's head. The structure of Shakspeare, open at every pore to every influence, was pervaded with the conversations of his age: the interchange made a thoroughfare of him; and, as it passed, he detained all the nutriment that his imagination craved, and let the rest escape. He lived amid this impromptu wit and knowledge of illustrious friends, saturated with their atmosphere, passing it through the deep-breathing lungs to redden, and transmitting it by magnificent pulses to the hearts of his spectators, purged of superfluity, sweetened by gentleness, drenched in grace. By every sense, with the nerves of every touch, he appropriated character, love, theory, and life. London was library and university; and poetic intuition was the tutor of his soul. So--whether jesting at the Mermaid, and growing forgetive upon the sack; visiting the haunts of travellers and mariners to pick up strange tales; listening to the multifarious comment of a Bacon, and turning over his rarities of books; or lounging by the river-side with Southampton, the centre of a group of the most advanced, curious, brilliant men of the Elizabethan age--he became, in person, the coincidence which pervades the dramas; and all inquisitions upon the amount of literary culture which he achieved, or surmises about his earlier employments, become impertinent, if they are not made ridiculous, as his great, receptive, broad-domed soul covered over London's world and drew up its variety.