In Romeo and Juliet, when Mercutio says "Tut, dun's the mouse, the constable's own word" we should note that the French word for mouse is 'souris', which also means 'smile', which is similar to simile, so that 'dun' is the simile for the constable. From this we deduce that Mercutio refers to a Constable Duns. This is a clear reference to John Duns Scotus, the medieval theologian, derided in Shakespeare's time for such enquiries as whether or not a mouse nibbling the Eucharistic wafer is partaking of the Body of Christ. For this kind of aimless scholastic quibbling, 'Duns' begat the word 'dunce', which is synonymous with 'Dull'. 'Dull', as is well known, is the name of the constable in Love's Labour's Lost. Since Romeo is about to give up on Juliet - "The game was ne'er so fair, and I am done" - clearly he thinks his own labor for love is lost.

We note also that an edition of Duns Scotus appeared in 1580 from a printer whose device was a cat carrying a mouse in its mouth. "Playing like a cat and mouse" is certainly a good simile for the game of courtship. (And of course, simile is an anagram for "I smile", which involves the mouth, which leads to souris, which leads back to mouse.)

If we combine Duns and constable we get Dunstable. From William T Smedley's essay The Mystery of Francis Bacon (1910) we learn that Francis Bacon's home was a few miles from Dunstable Way, which was the local name for the main road. Hence we have a strong geographic link between Bacon and the above line from Romeo and Juliet.

The road from Dunstable to London has many long, straight stretches. To describe a manner of speaking or writing as "plain as Dunstable Way" was an Elizabethan simile for being direct and straightforward. By alluding obliquely to Constable Dun's, which is an anagram of "con Dunstable's", or "contrary to Dunstable's way", the playwright is clearly mocking this proverbial endorsement of simple and direct language, and conversely endorsing his own affinity for anagrams and cryptography. Francis Bacon, of course, was devoted to anagrams and cryptography, which further demonstrates his link to the play.

All this from only one line in the play. Clearly the author of Romeo and Juliet constructed every poetic line as a multi-layered edifice of cryptic allusions, metaphors, and puns - drawing on the kind of intelligence and erudition that could only be possessed by a person of high birth and Oxbridge education - i.e., a person like Francis Bacon.