The Literary Evidence from Shakespeare’s Lifetime Identifying Him as an Author
Anti-Stratfordians are notorious for wanting to know “why no one ever called Shakespeare a writer until he’d been dead for seven years.” The latest to do so in a book (at the time of this writing) is Diana Price, who presents a subtle version of the question in her Shakespeare’s
Unorthodox Biography. She phrases the question thus: why have we no contemporaneous personal literary evidence (CPLE) that Shakespeare was a writer? She then surveys the literary evidence concerning him and 24 other writers of the time, dividing it into “personal” (by no unambiguous definition she has been willing explicitly to state) and “impersonal.” Result: she has found some of the former for each of her 25 subjects but Shakespeare. She seems not to have convinced any real scholars of the usefulness of her discovery, but has gotten her fellow rejectors pretty excited, so I thought I ought to present a sane overview of the evidence for Shakespeare from his lifetime. I divide it among the following nine groupings.
(A) Literary Evidence from Shakespeare’s Lifetime That Is Beyond Reasonable Doubt Personal
(B) Literary Evidence from Shakespeare’s Lifetime That Is Almost Certainly Personal
(C) Literary Evidence from Shakespeare’s Lifetime That Is Probably Personal
(D) Literary Evidence from Shakespeare’s Lifetime Slightly More Likely Than Not To Be Personal
(E) Literary Evidence from Shakespeare’s Lifetime Equally Likely to Be Personal or Not Personal
(F) Literary Evidence from Shakespeare’s Lifetime Slightly More Likely Than Not Not To Be Personal
(G) Literary Evidence That Is Probably Not Personal
(H) Literary Evidence from Shakespeare’s Lifetime That Is Almost Certainly Not Personal
(I) Literary Evidence from Shakespeare’s Lifetime That Is Beyond Reasonable Doubt Not Personal
Any fair-minded anti-Stratfordian, and there are a few, will have to admit that such a division is more revealing, if less propagandistically effective, than the simple black&white personal/ impersonal one that Price uses. Not all the evidence is so easily classified of as she pretends.
I also differ from Price in that I use “personal” to mean “testimony by someone who can be shown beyond reasonable doubt to have personally known the person he is testifying about.” Price misuses the term to mean only “testimony by someone who states as he gives it that he personally knows the person he is testifying about.” (I should add that she is not fastidious about sticking to this definition when it suits her agenda not to.) All that concerns her is explicitly personal vidence, a category of just about no value except to propagandists. I
also specify that I am concerned with evidence from the lifetime of the alleged writer concerned only instead of fudging things so I can use evidence from after his death when convenient, as she does.
(A) Literary Evidence from Shakespeare’s Lifetime That Is Beyond Reasonable Doubt Personal
I found no evidence for Shakespeare that I feel belongs in this category, for it is for only the most unarguably certain evidence a writer could leave behind, such as signed, holographic manuscripts, or letters in the hand of an alleged writer concerning his writing, with no evidence extant against their identification as his.. I would admit a some of the evidence Diana Price has found for other playwrights of Shakespeare’s time.
There is no such evidence for a substantial minority of the 24 writers in Price’s study, and only scraps for almost all the rest, just about none having left behind more than one complete manuscript copy of a play, for instance, and only a few leaving behind so much as one
complete manuscript copy of a play.
(B) Literary Evidence That Is Almost Certainly Personal from Shakespeare’s Lifetime
(1) the dedication to Venus and Adonis, 1593
TO THE RIGHT HONORABLE HENRY WRIOTHESLY, EARL OF SOUTHAMPTON, AND BARON OF TICHFIELD. RIGHT HONORABLE, I KNOW not how I shall offend in dedicating my unpolished lines to your lordship, nor how the world will censure me for choosing so strong a prop to support so weak a burden only, if your honour seem but pleased, I account myself highly praised, and vow to take advantage of all idle hours, till I have honoured you with some graver labour. But if the first heir of my invention prove deformed, I shall be sorry it had so noble a god-father, and never after ear so barren a land, for fear it yield me still so bad a harvest. I leave it to your honourable survey, and your honour to your heart’s content; which I wish may always answer your own wish and the world’s hopeful expectation.
Your honour’s in all duty,
WILLIAM SHAKESPEARE.
(a) Here we have a dedication in which William Shakespeare personally states that he wrote the poem, Venus and Adonis. One can argue that he didn’t really write it, but one can use that argument against any record someone claims is personal literary evidence for some author. Aside from that, a false or mistaken personal record is still a personal record.
(b) This dedication is also the testimony of its publisher, Richard Field, that William Shakespeare wrote Venus and Adonis. Since it is near certain that Field personally know William Shakespeare, because (to repeat): (i) their fathers knew each other, Shakespeare’s father having appraised Richard’s father’s inventory sometime around 1590; (ii) Richard and William were from the same small town of some 1500 to 2000 inhabitants, and close enough in age that they would have gone to the same one-classroom school together; (iii) both had literary interests, even if we assume William was only an actor; and (iv) William had a character in Cymbeline, needing a false name, use the pseudonym Richard du Champ, French for “Richard Field.”
(c) Several other writers left records stating that William Shakespeare wrote Venus and Adonis, and no good evidence that he did not write both it and its dedication.
(2) dedication to The Rape of Lucrece
TO THE RIGHT HONORABLE HENRY WRIOTHESLY, Earl of Southampton, and Baron of Tichfield. The love I dedicate to your lordship is without end; whereof this pamphlet, without beginning, is but a superfluous moiety. The warrant I have of your honourable disposition, not the worth of my untutored lines, makes it assured of acceptance. What I have done is yours; what I have to do is yours; being part in all I have, devoted yours. Were my worth greater, my duty would show greater; meantime, as it is, it is bound to your lordship, to whom I wish long life, still lengthened with all happiness.
Your lordship’s in all duty,
WILLIAM SHAKESPEARE.
This dedication, published in 1594, is personal literary evidence from his lifetime not only for the same three reasons Shakespeare’s dedication to Venus and Adonis is, but for a subtle third reason: it includes implicitly but near-certainly the personal testimony for Shakespeare of a third witness. It states the Shakespeare had a “warrant” from Southampton, which most reasonable people take to have been patronage, won by Venus and Adonis. That Southampton
liked that poem is close to unarguable because Shakespeare had said in his first dedication that he would not compose a second poem if Southampton did not like the first, and here we have a second poem from him.
Whatever the “warrant” was, though, Shakespeare got it, and it had to be delivered to him. One would think Southampton himself personally gave it to him, but even if not—as anti-Stratfordians argue—someone had to give Shakespeare—as a writer—the warrant in person. In other words, either Southampton recognized Shakespeare in person as a writer or his go-between did.
(3) Francis Meres’s Testimony
Meres (1598): “As the soul of Euphorbus was thought to live in Pythagoras: so the sweete wittie soul of Ovid lives in mellifluous and honey-tongued Shakespeare, witness his Venus and Adonis, his Lucrece, his sugared Sonnets among his private friends, etc.”
How would Meres know about the sonnets among Shakespeare’s private friends without being a private friend himself—or by knowing a private friend who was thus a go-between personally recognizing Shakespeare as a poet the way the deliverer of the warrant in (b) was?
(4) Sir George Buc’s Testimony (which I found out about from Alan Nelson)
The Folger Shakespeare Library copy of George a Greene contains an annotation in the hand of George Buc (1560-1622), who was Master of the Revels from 1610 to 1622:
Written by ………… a minister, who ac[ted] the pin{n}ers part in it himself. Teste W. Shakespea[re] Ergo, George Buc knew Shakespeare personally, which makes the following Stationers Register entry of Nov. 26, 1607 almost-certainly personal literary evidence from Shake- speare’s lifetime that he was a writer: “26 Novembris. Nathanial Butter John Busby. Entred for their Copie under thandes of Sir George Buck knight and Thwardens A booke called. Master William Shakespeare his historye of Kinge Lear, as yt was played before the Kinges maiestie at Whitehall vppon Sainct Stephens night at Christmas Last, by his maiesties servantes playinge vsually at the Globe on the Banksyde vjd.”
(5) Thomas Heywood’s Testimony
The following, by Thomas Heywood is from “Epistle to the printer after An Apology for Actors” (1612): “Here likewise, I must necessarily insert a manifest injury done me in that worke, by taking the two Epistles of Paris to Helen, and Helen to Paris, and printing them in a lesse volume, vnder the name of another, which may put the world in opinion I might steale them from him; and hee to doe himselfe right, hath since published them in his owne name: but as I must acknowledge my lines not worthy his patronage, vnder whom he hath publisht them, so the Author I know much offended with M. *Jaggard* that (altogether vnknowne to him) presumed to make so bold with his name.”
The work Heywood is referring to is Jaggard’s 1612 edition of The Passionate Pilgrim, a collection of poems, the title page of which said it was by William Shakespeare, but which contained poems known or thought to be by others, including the two poems by Heywood that
Heywood gives the titles of, which were in Heywood’s Troia Britannica (1609).
Because the anti-Stratfordians have had trouble reading it (Diana Price, for instance, claims on pages 130 and 131 of her book that the passage’s “wording is dense, filled with troublesome pronouns” and therefore can’t count as evidence for Shakespeare), let me repeat it,
accompanied by my paraphrase (in caps).
Here likewise, I must necessarily insert a manifest injury done me in
I FEEL I MUST TELL YOU HOW I WAS HARMED IN
that work, by taking the two Epistles of Paris to Helen, and Helen to
THAT VOLUME BY THE INCLUSION IN IT OF TWO OF MY POEMS (WHICH I NAME)
Paris, and printing them in a less volume, under the name of another,
AND PRINTING THEM IN A LESS SIGNIFICANT VOLUME ATTRIBUTED TO SOMEONE ELSE
which may put the world in opinion I might steal them from him; and he
AN ACT WHICH MAY MAKE IT LOOK TO EVERYONE LIKE I STOLE THE POEMS FROM THAT OTHER PERSON AND HE
to do himself right, hath since published them in his own name: but as
TO INDICATE THE TRUTH OF THE MATTER HAS SINCE PRINTED THEM AS HIS, BUT SINCE
I must acknowledge my lines not worthy his patronage, under whom he
I AM COMPELLED TO ADMIT THAT MY POEMS ARE NOT GOOD ENOUGH TO BE GIVEN SOME SORT OF REWARD, BACKED, OR THE LIKE, BY THAT OTHER PERSON, WHOSE NAME JAGGARD
(Note: “patronage” to modern ears, is a bit dense as a figure of speech, and the “he” that refers to Jaggard is sloppily used, but not so sloppily as to prevent any reasonable person from figuring out its referent, or for any other reading of the passage to work)
hath published them, so the Author I know much offended with M.
HAS PUBLISHED THEM UNDER. THE WRITER WHOSE NAME WAS SO USED HAS, I KNOW, BECOME VERY ANNOYED AS A RESULT WITH MR.
Jaggard (that altogether un known to him) presumed to make so bold
JAGGARD (WHO WITHOUT THE WRITER’S KNOWLEDGE) AUDACIOUSLY MADE FREE
with his name. These, and the like dishonesties I know you to be clear
WITH THE NAME OF THAT WRITER. I’M SURE YOU COULD NOT BE GUILTY OF SUCH KINDS OF UNETHICAL BEHAVIOR
of; and I could wish but to be the happy Author of so worthy a work as
AND IT WOULD PLEASE ME IF ONLY I WERE THE FORTUNATE WRITER OF A WORK GOOD ENOUGH TO
I could willingly commit to your care and workmanship.
TURN OVER TO YOU (THE PRINTER THIS TEXT IS ADDRESSED TO).
This passage is as clear as anything written back then (and no anti-Stratfordian at HLAS has shown where my paraphrase gets it wrong). To say it is too ambiguous to count as a personal reference to Shakespeare is ridiculous, if not insane. Heywood in effect names him, for only Shakespeare’s name is on The *Passionate Pilgrim*; he calls him an author, and reveals personal information about him. That he knew him personally is corroborated by a later poem Heywood wrote in which he said that Shakespeare was not haughty, and known to all as just “Will.” Even if you decide Heywood did not personally know Will, he had to have gotten his information about him from someone who did know him personally and that he was upset with Jaggard’s misuse of his name.
(C) Literary Evidence That Is Probably Personal from Shakespeare’s Lifetime
(1) Greene’s Testimony
The author of Greenes Groatsworth of Witte (1592), whether Robert Greene, as I believe, or Henry Chettle, as others do, states that William Shakespeare, the actor, was a playwright (since he is said to conceitedly believe that one of his lines makes him as good a composer of blank verse as Christopher Marlowe and two other playwriting associates of Greene’s). (See my essay on the Groatsworth for details.) That Greene (or whoever it was who was calling himself Greene) not only knows of this actor and that he was writing plays (or parts of plays), but pronounces him conceited, and a jack-of-all trades with some certainty strongly suggests that Greene personally knew him—as does Greene’s centrality in the London writing trade, just about everyone in which he seemed to know. But Shakespeare is only identified by his acting vocation, authorship of a line from Henry VI, Part 3 (said to be his in the First Folio and not attributed to anyone else anywhere else), and the nonce term, “Shake-scene,” to refer to Shakespeare, not explicitly. Hence, I put it in this category rather than into B.
(2) Henry Chettle’s Testimony
I contend that in his preface to Kind-Harts Dreame (1592), Henry Chettle identifies Shakespeare as a playwright he has met in person and found to be a swell guy. He doesn’t give this playwright’s name, but in speaking of him, he is clearly speaking of the Crow of Greenes
Groatsworth of Wit (i.e., Shakespeare), for he is apologizing for offensive statements in the Groatsworth that could only have been directed at the Crow, the only one insulted therein who was an actor, or—for that matter—had both an art and a vocation.
(3) John Davies’s Testimony
In 1603, John Davies of Hereford writes of his love of actors, including a W.S. (coupled with an R.B.) whom Davies also loved for poetry and who, except for anti-Stratfordians, is almost certainly Shakespeare. Two years later he also refers positively to actors, particularly “R.B.
and W.S.,” in a poem. I mention this to indicate the probability that he actually knew W.S. and R.B. personally, because of his fondness for actors in general, and them in particular.
In 1610, a more explicit poem by Davies about Shakespeare was published:
To Our English Terence, Mr Will. Shake-speare
Some say (good Will). which I, in sport, do sing,
Hadst thou not played some Kingly parts in sport,
Thou hadst been a companion for a King;
And been a King among the meaner sort.
Some others rail; but, rail as they think fit,
Thou hast no railing, but, a reigning Wit:
And honesty thou sowst, which they do reap;
So, to increase their stock which they do keep.
To start with, Davies describes Shakespeare as a dramatist, as Terence was. In the body of the poem, he speaks of Shakespeare’s reigning wit, and reveals his knowledge of comments about Shakespeare. This, for me, is suggestion enough that Davies knew Shakespeare, but the fact that the poem is one in a sequence of poems Davies wrote about various of his friends, all of them complimentary, though one or two are teasingly mocking, as well, makes it probably, for me, that Davies personally knew Shakespeare.
(4) the impresa
A 1613 record (“Item, 31 Martii 1613 to Mr. Shakespeare in gold about my Lord’s impresa xlivs. To Richard Burbage for painting and making it, in gold xlivs.”) is further evidence that a William Shakespeare was an actor, albeit only weakly circumstantial since the “Shakspeare” here not only is not identified as an actor but may have been some other Shakespeare, such as John Shakespeare, the royal bitmaker Charlotte Stopes turned up in her researches. But Burbage and Shakespeare were associated together too many times for it to be likely that here Burbage was for the first and apparently only time associated with some other Shakespeare than Will, and that the other Shakespeare was constructing some kind of clever/arty picture/motto
combination of just the kind that Shakespeare the writer imaged so often in his plays and that Burbage would have had the talent to paint.
Rob Zigler agrees. In an Internet newsgroup post to someone arguing the contrary, he says, “To put it bluntly, the idea that the payee was not William Shakespeare is ridiculous. The fee was exactly split between Richard Burbage and Mr. Shakespeare, so we’re looking for people who are likely to have been partners. I’m sure that you’ve noticed that William Shakespeare appears in a number of documents as a partner with Richard Burbage. I’m also fairly sure that you’ve also noticed that John Shakespeare, the royal bitmaker doesn’t show up anywhere else partnered with Richard Burbage. It’s been quite a while since I’ve read what Stopes had to say, but my recollection is that John Shakespeare makes pretty frequent appearances in the accounts of the King and assorted nobles and I see that E.K. Chambers says that he doesn’t start appearing in those accounts until 1617 Here’s yet another reason why Stopes idea doesn’t make any sense. Impresa shields were small and made out of pasteboard, so why would the construction process call for a man who made bits and spurs? What could he have done that would have been worth the relatively grand sum of 44 shillings?
“Actually, we know perfectly well what Mr. Shakespeare was being paid for. The task of creating an impresa shield can be logically divided into two parts; the design and the construction. The Rutland account tells us that Richard Burbage made and painted the shield, so the construction of the shield is entirely accounted for. That leaves only the design. Needless to say, designing a tournament impresa is something we know that poets sometimes did. (Jonson wrote an epigram complaining of not having yet been paid for ‘a gulling imprese for you at tilt’.)
“If we knew nothing at all about Mr. Shakespeare outside of this document, we’d assume that he was probably some sort of poet. . . . Therefore, the Rutland document should count as part of a personal literary paper trail connecting Will Shakespeare to the profession of acting.” And, weakly, to the profession of writing, we can add.
(5) The Testimony of the Title-Pages
Throughout Shakespeare’s lifetime title-pages of published plays attributed those plays to him. They are obviously literary evidence that he wrote them. I consider them probably personal because it doesn’t seem possible to me that none of the many publishers who published his plays and testified that he wrote them by placing his name on their title-pages knew him personally. Diana Price, in fact, is sure that nearly all of them did—except as a play-broker, rather than as a playwright. Nonetheless, if they knew him personally, their testimony on the title-pages of the books they published must be considered personal literary evidence. This must hold, also, for the title-pages of published plays they put his name or initials on that scholars are close to unanimous in considering not to have been Shakespeare’s work: if a
publisher personally knew Shakespeare, and publically stated that he was the author of a particular book, then his testimony is personal literary evidence that that was the case (however easily counter evidence might outweigh it). Interestingly, since no known published
play of the times had the name of a non-writer on its title-page, even Shakespeare’s name on the thtile-page of a play he did not write is strong evidence that he was a writer.
(D) Literary Evidence Slightly More Likely Than Not To Be Personal from Shakespeare’s Lifetime
(1) The Testimony of John Weever
Here is John Weever’s sonnet on Shakespeare, which appeared in his Epigrammes (1599):
Honey-tongued Shakespeare, when I saw thine issue
I swore Apollo got them, and none other,
Their rosy-tainted features clothed in tissue,
Some heaven-born goddess said to be their mother.
Rose-cheekt Adonis with his amber tresses,
Fair fire-hot Venus charming him to love her,
Chaste Lucretia virgine-like her dresses,
Proud lust-stung Tarquine seeking still to prove her:
Romea-Richard; more, whose names I know not,
Their sugred tongues, and power attractive beauty
Say they are Saints, although that Sts they show not
For thousands vows to them subjective dutie:
They burn in love thy childre Shakespear het the
Go, wo thy Muse more Nymphish brood beget them.
According to E.A.J. Honigmann, “Weever made (this poem) a ‘Shakespearian’ sonnet; of around 160 epigrams in his collection, most of them between four and twenty lines in length, one, and only one, is fourteen lines long and rhymes abab, cdcd, efef, gg. This can only mean one thing – that Weaver had seen some of Shakespeare’s sonnets, and wished to signal to others in the know that he had enjoyed this privilege.” That would make him one of the friends Shakespeare circulated his sonnets among. Pure speculation, yes, but possibly correct.
(2) The Testimony of Antony Scoloker
In his preface to “Diaphantus; or, the Passions of Love” (1604), Antony Scoloker writes: “(an epistle to the reader) should be like the Never-too-well read Arcadia, where the Prose and verce (Matters and Words) are like his Mistresses eyes, one still excelling another and without Corivall: or to come home to the vulgars Element, like Friendly Shakespeare’s Tragedies, where the Commedian rides, when the Tragedian stands on tip-toe: Faith it should please all, like Prince Hamlet.”
If Scoloker was referring to Shakespeare’s personality, his use of the adjective “friendly” to describe him would indicate that he personally knew him (or that someone else who personally knew him had told Skoloker he was friendly); but since Scoloker here could be referring to Shakespeare’s “friendly” style as a writer, I don’t feel I can assume that he knew Shakespeare the man. (There are two conflicting questions for me: why insert an adjective about a man’s disposition in a paragraph otherwise entirely about writing; and why use the adjective in front of Shakespeare’s name rather than in front of “tragedies” if it is supposed to describe the latter?)
(3) The Testimony of John Webster
In 1612 – John Webster writes “To his beloved friend Maister Thomas Heyood” for “Apology for Actors.”
( Let me pause here to ask why Price counts Webster’s verse as CPLE for both Heywood and himself. On its face it suppports the claim that Webster knew Heywood and thought Heywood was the author of “Apology for Actors.” But how does it persuade us that Webster was himself an author? If Shakespeare’s dedications to V&A and RoL don’t count, Webster’s name at the bottom of a printed verse is no evidence of his authorship. There is no indication that Webster’s rough draft manuscript for the verse survives, nor does Heywood’s bio show any reciprocal record of esteem for Webster. This is not the only case where a commendatory verse gets counted twice in the CPLE data. I have to say it sounds like stuffing the ballot box.)
Now, to continue:
John Webster, 1612 (“To the reader” prefacing The White Devil):
Detraction is the sworn friend to ignorance; for mine own part I have ever truly cheris’d my good opinion of other men’s worthy labors: especially of that full and height’ned style of Master Chapman; the labor’d and understanding works of Master Jonson; the no less worthy composures of the both worthily excellent Master Beaumont and Master Fletcher; and lastly, without wrong last to be named, the right happy and copious industry of M. Shakespeare, M. Dekker, and M. Heywood; wishing that what I write may be read by their light; protesting that, in the strength of mine own judgment, I know them so worthy that, though I rest silent in my own work, yet to most of theirs I dare, without flattery, fix that of Martial: non norunt, haec monumenta mori [“these monuments know not how to die”].
On the surface, Webster’s praise is impersonal–the kind that is appropriate when “there was no personal relationship,” as Price’s husband put it in an HLAS discussion. Webster praises everyone’s “worthy labors”; the “style” of Chapman; the “works” of Jonson; the “composures” of Beaumont and Fletcher; the “industry” of the last three. I mention it here, however, because of its reference to Webster’s “beloved friend” Heywood, without a single adjective to indicate he was a friend of Webster’s. In other words, Price’s policy of counting only testimony that is explicitly personal as personal evidence is improper. So, by including Shakespeare in the company of a certain friend of his, Webster may, ever so slightly, be indicating that
Shakespeare, too, was his friend.
(4) The Testimony of Leonard Digges
In 1613 Leonard Digges compared the sonnets of Lope de Vega to those of “our Will Shakespeare,” which is a pretty friendly way to refer to Shakespeare—and Digges was not only a close neighbor of Shakespeare’s in both Aldermarston and in London, his father-in-law was remembered by Shakespeare in his will, and served as one of the two overseers of that will. But Digges could have meant “England’s” by “our.” I’m also not sure that “Will” wasn’t the name everyone knew Shakespeare by, not just his friends. Given a choice between calling this piece of evidence personal or impersonal, I’d call it personal. Fortunately, with a sane way of arranging such items in a continuum, I don’t have to do that here.
(E) Literary Evidence Equally Likely to Be Personal or Not Personal from Shakespeare’s Lifetime
This category would include just about all the literary evidence from Shakespeare’s lifetime that is not explicitly personal nor consigned to the preceding categories. I don’t believe there is any known piece of evidence for Shakespeare that can confidently be described as certainly or even probably impersonal. Edward Alleyn, for instance, referred to Shakespeare as a poet; was the reference personal? I, for one, would suspect it probably was since it seems unlikely two such important figures in the London theatre world of the time would not have met, but we lack sufficient data to say one way or the other. The same seems true for all the other evidence for Shakespeare. So this category is the last on my nine that I will concern myself with here. And I won’t bother to list the pieces of evidence that would go into it, for I have covered most of them in the main body of my book, Shakespeare and the Rigidniks.
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Hi Bob,
I’ve never seen or heard of your book sh and the rigidniks and will lovingly peruse and promote its contents. I’m off for a google of it and then I’ll post it.
My favourite evidence for Sh is from Sir Richard Baker who mentions those that were writers and actors too. Unfortunately it shows up 30 years after his death so inadmissible for the conspiracists.
FUnny as Baker is a direct contemporary and frequented the London playhouses when he studied there.
cheers,
Will
Thanks for the comment, Will. You should know, though, that my Shakespeare and the Rigidniks is a hard copy that I must mail to you if you want a copy. E.mail a request to [email protected] and I’ll send you a copy. Free, but will need postage from you if you’re overseas.
all best, Bob