In my boyhood I was wild and I poached. If I were not afraid of having it set down as a joke, I should say that I poached everything from eggs to deer. I was not a great joy to my parents. There was no deviltry in Stratford in which I did not take a leading part, and finally, for the good of Warwickshire, I was sent to London, where a person of my talents was more likely to find congenial and appreciative surroundings. A glance at such of my autographs as are now extant will demonstrate the fact that I never learned to write; a glance at the first folios of the plays attributed to me will likewise show that I never learned to spell; and yet I walked into London with one of the most exquisite poems in the English language in my pocket. I am still filled with merriment over it. How was it, the critics of the years since have asked--how was it that this untutored little savage from leafy Warwickshire, with no training and little education, came into London with "Venus and Adonis" in manu in his pocket? It is quite evident that the critic fraternity have no Sherlock Holmes in their midst. It would not take much of an eye, a true detective's eye, to see the milk in that cocoanut, for it is but a ****** tale after all. The way of it was this: On my way from Stratford to London I walked through Coventry, and I remained in Coventry overnight. I was ill-clad and hungry, and, having no money with which to pay for my supper, I went to the Royal Arms Hotel and offered my services as porter for the night, having noted that a rich cavalcade from London, en route to Kenilworth, had arrived unexpectedly at the Royal Arms. Taken by surprise, and, therefore, unprepared to accommodate so many guests, the landlord was glad to avail himself of my services, and I was assigned to the position of boots. Among others whom I served was Walter Raleigh, who, noting my ragged condition and hearing what a roisterer and roustabout I had been, immediately took pity upon me, and gave me a plum-colored court-suit with which he was through, and which I accepted, put upon my back, and next day wore off to London. It was in the pocket of this that I found the poem of "Venus and Adonis." That poem, to keep myself from starving, I published when I reached London, sending a complimentary copy of course to my benefactor. When Raleigh saw it he was naturally surprised but gratified, and on his return to London he sought me out, and suggested the publication of his sonnets. I was the first man he'd met, he said, who was willing to publish his stuff on his own responsibility. I immediately put out some of the sonnets, and in time was ****** a comfortable living, publishing the anonymous works of most of the young bucks about town, who paid well for my imprint. That the public chose to think the works were mine was none of my fault. I never claimed them, and the line on the title-page, "By William Shakespeare," had reference to the publisher only, and not, as many have chosen to believe, to the author. Thus were published Lord Bacon's "Hamlet," Raleigh's poems, several plays of Messrs. Beaumont and Fletcher--who were themselves among the cleverest adapters of the times--and the rest of that glorious monument to human credulity and memorial to an impossible, wholly apocryphal genius, known as the works of William Shakespeare. The extent of my writing during this incarnation was ten autographs for collectors, and one attempt at a comic opera called "A Midsummer's Nightmare," which was never produced, because no one would write the music for it, and which was ultimately destroyed with three of my quatrains and all of Bacon's evidence against my authorship of "Hamlet," in the fire at the Globe Theatre in the year 1613.
These, then, dear reader, are the revelations which I have to make. In my next incarnation I was the man I am now known to be, Baron Munchausen. As I have said, I make the exposure with regret, but the arrogance of these impudent impersonators of my various personalities has grown too great to be longer borne. I lay the ****** story of their villany before you for what it is worth. I have done my duty. If after this exposure the public of Hades choose to receive them in their homes and at their clubs, and as guests at their functions, they will do it with a full knowledge of their duplicity.
In conclusion, fearing lest there be some doubters among the readers of this paper, I have allowed my friend, the editor of this esteemed journal, which is to publish this story exclusively on Sunday next, free access to my archives, and he has selected as exhibits of evidence, to which I earnestly call your attention, the originals of the cuts which illustrate this chapter--viz:
I. A full-length portrait of Eve as she appeared at our first meeting.
II. Portraits of Cain and Abel at the ages of two, five, and seven.
III. The original plans and specifications of the Ark.
IV. Facsimile of her commission.
V. Portrait-sketch of myself and the false Noah, made at the time, and showing how difficult it would have been for any member of my family, save myself, to tell us apart.
VI. A cathode-ray photograph of the whale, showing myself, the original Jonah, seated inside.
VII. Facsimiles of the Shakespeare autographs, proving that he knew neither how to write nor to spell, and so of course proving effectually that I was not the author of his works.
It must be confessed that I read this article of Munchausen's with amazement, and I awaited with much excited curiosity the coming again of the manipulator of my type-writing machine. Surely a revelation of this nature should create a sensation in Hades, and I was anxious to learn how it was received. Boswell did not materialize, however, and for five nights I fairly raged with the fever of curiosity, but on the sixth night the familiar tinkle of the bell announced an arrival, and I flew to the machine and breathlessly cried:
"Hullo, old chap, how did it come out?"
The reply was as great a surprise as I have yet had, for it was not Boswell, Jim Boswell, who answered my question.