WHAT IS MAN? AND OTHER ESSAYS OF MARK TWAIN

not practically.

I have been a quartz miner in the silver regions–a pretty

hard life; I know all the palaver of that business: I know all

about discovery claims and the subordinate claims; I know all

about lodes, ledges, outcroppings, dips, spurs, angles, shafts,

drifts, inclines, levels, tunnels, air-shafts, “horses,” clay

casings, granite casings; quartz mills and their batteries;

arastras, and how to charge them with quicksilver and sulphate of

copper; and how to clean them up, and how to reduce the resulting

amalgam in the retorts, and how to cast the bullion into pigs;

and finally I know how to screen tailings, and also how to hunt

for something less robust to do, and find it. I know the argot

and the quartz-mining and milling industry familiarly; and so

whenever Bret Harte introduces that industry into a story, the

first time one of his miners opens his mouth I recognize from his

phrasing that Harte got the phrasing by listening–like

Shakespeare–I mean the Stratford one–not by experience. No one

can talk the quartz dialect correctly without learning it with

pick and shovel and drill and fuse.

I have been a surface miner–gold–and I know all its

mysteries, and the dialects that belongs with them; and whenever

Harte introduces that industry into a story I know by the

phrasing of his characters that neither he nor they have ever

served that trade.

I have been a “pocket” miner–a sort of gold mining not

findable in any but one little spot in the world, so far as I

know. I know how, with horn and water, to find the trail of a

pocket and trace it step by step and stage by stage up the

mountain to its source, and find the compact little nest of

yellow metal reposing in its secret home under the ground. I

know the language of that trade, that capricious trade, that

fascinating buried-treasure trade, and can catch any writer who

tries to use it without having learned it by the sweat of his

brow and the labor of his hands.

I know several other trades and the argot that goes with

them; and whenever a person tries to talk the talk peculiar to

any of them without having learned it at its source I can trap

him always before he gets far on his road.

And so, as I have already remarked, if I were required to

superintend a Bacon-Shakespeare controversy, I would narrow the

matter down to a single question–the only one, so far as the

previous controversies have informed me, concerning which

illustrious experts of unimpeachable competency have testified:

WAS THE AUTHOR OF SHAKESPEARE’S WORKS A LAWYER?–a lawyer deeply

read and of limitless experience? I would put aside the guesses

and surmises, and perhapes, and might-have-beens, and could-have-

beens, and must-have-beens, and we-are-justified-in-presumings,

and the rest of those vague specters and shadows and

indefintenesses, and stand or fall, win or lose, by the verdict

rendered by the jury upon that single question. If the verdict

was Yes, I should feel quite convinced that the Stratford

Shakespeare, the actor, manager, and trader who died so obscure,

so forgotten, so destitute of even village consequence, that

sixty years afterward no fellow-citizen and friend of his later

days remembered to tell anything about him, did not write the Works.

Chapter XIII of THE SHAKESPEARE PROBLEM RESTATED bears the

heading “Shakespeare as a Lawyer,” and comprises some fifty pages

of expert testimony, with comments thereon, and I will copy the

first nine, as being sufficient all by themselves, as it seems to

me, to settle the question which I have conceived to be the

master-key to the Shakespeare-Bacon puzzle.

VIII

Shakespeare as a Lawyer [1]

The Plays and Poems of Shakespeare supply ample evidence

that their author not only had a very extensive and accurate

knowledge of law, but that he was well acquainted with the

manners and customs of members of the Inns of Court and with

legal life generally.

“While novelists and dramatists are constantly making

mistakes as to the laws of marriage, of wills, of inheritance, to

Shakespeare’s law, lavishly as he expounds it, there can neither

be demurrer, nor bill of exceptions, nor writ of error.” Such

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