INDEX.

Alfieri. His intensity, p. [91].
Apollo, the statue, [87].
As you like it, [75], [100].
Beaumont. Partnership with Fletcher, [2], [5], [6], [62], [63], [73].
Beautiful, the, in Art, [85], [89].
Bridal Song in Two Noble Kinsmen, [27].
Characterization, Shakspere's, [94].
Chaucer. Correspondences in the Two Noble Kinsmen with the Knight's Tale, [40], [45], [53];
differences from it, [35], [39], [44], [48], [54];
his classical subjects, [65], [66];
influence on Shakspere, [67], [68], [72];
school founded by him, [67];
version of the story, [26].
Classical allusions in contemporary writers, [18], [19].
Classical mythology in Shakspere, [19];
poetry, [71];
story, [64].
Contemporary dramatists. Their licentiousness, [102];
points in common with Shakspere, [56], [57];
representations of passion, [95], [96];
stage effects, [74];
subjects, [63], [73].
Dante, [91].
Date of the Two Noble Kinsmen 1634, [4].
Didactic poetry, [92].
Editors, Shakspere's first, [6-8].
Epic poetry, [92].
Evidence as to authorship of the Two N. K., Historical, [3-5];
Internal, [10-25].
Fine art, [86].
Fletcher. His co-authors, [5], [6];
diffuseness and elaboration, [14];
differences between him and Shakspere, [57];
his 'men of pleasure,' [42], [102];
popularity, [4];
plots [63], [66];
poverty in metaphor, [17],
and in thought, compared with Shakspere, [20], [21].
His rhythm, [11];
his share in the Two Noble Kinsmen: all second act, five scenes in third act, all fourth act, one scene in fifth act, [35-40], [42-45], [59];
his slowness of association, [37];
vague, ill-graspt imagery, [16], [36];
want of personification, [25];
wit, [23].
Folios, Shakspere's first and second, [6-9].
Ford. Choice of plots, [74];
'Death of Annabella,' [80].
Greek arts of design, poetry contrasted with modern, [71], [83].
Hamlet, [94], [104], [106].
Henry VIII, [109].
Imagination, [90], [93].
Invention defind by Alfieri, [92 n.]
Jailer's daughter, [61].
Jaques, [100], [101].
Johnson, Dr Sam, [102].
Jonson, Ben. Comparative failure in delineating passion, [95], [96];
his plots and Shakspere's, [36], [62], [73];
his humour, [23];
his likeness to Shakspere, [57];
partnership with Fletcher, [6];
'Sejanus' untoucht by Shakspere, [2].
Laocoon, the sculpture, [87].
Lear, the end of, [76], [94], [99].
Lessing's Laocoon, [83];
principles of plastic art, [83], [86].
Lodge, [64].
Lyly. His faults, [22].

Macbeth, [104].
Marlowe, [56], [64].
Massinger. Reach of thought, [21], [57];
repetitions, [12];
sensational situations, [74].
Metaphor. Shakspere's metaphorical style, [16];
examples, [24], [31-33];
simile and metaphor, [17].
Middleton, [57].
Midsummer Night's Dream, [75], [109].
Milton. Inequality of early and late work, [106];
love of early legend, [72];
powerful conception, [13];
purity of mind, [103];
use of language, [13].
Origin of the story of Two N. K., [38].
Othello, Act III, [75], [99], [104].
Palamon and Arcite by Edwards, [66].
Passions the chief subjects of poetry, [92].
Peele, [64].
Pericles, [8], [65].
Personification, [25], [26], [31].
Plots of plays by Shakspere and others, contrasted, [63].
Poetry. Characteristics, [90], [91];
contrast with plastic art, [84-86];
dramatic poetry the highest form, [92];
its true functions, [82];
its true subject, Mind, [90];
aims, [98];
and limitations, [95];
mental effect of poetry, [89].
Schlegel on the Two Noble Kinsmen, [10].
Shakspere. Arrangement of plots, [73-78];
belongs to the old school, [62], [64];
characteristics of his style, [11], [28], [32], [34], [44], [46], [57-59];
choice of his subjects, well-known stories, [62-66];
conceits and word-play, [22], [23], [41];
conciseness, [13];
contrast to Fletcher, [57];
detaild description over-labourd, [17], [54];
difficulty of imitating Shakspere, [58],
distinctness of his images, [61].
His familiar images sometimes harsh and coarse, [29];
imagination, [93], [94];
mannerism, [12];
Metaphors, [16], [17], [24];
morality, [101-103];
obscurity, [14];
over-rapid conception, [13];
personification, [25], [26];
range of power, [105], [106];
repetition, [12];
representations of evil, [104];
share in the play: first act, one scene in second act, fifth act all but one scene, [59];
sober rationality, [98];
stage spectacles avoided by him, [78];
studies, [67], [68];
tendency to reflection, [20], [21], [100], [101];
his thought, active, inquiring, put into all his characters, [20];
treatment of all human nature, [98], [99];
unity of conception, [79-81];
versification, [11];
wit, [23].
Sketch of the Two N. K., [26-55].
Spectacle. How Shakspere avoided stage spectacles, [78].
Spenser, [68], [72].
Tempest, [74], [94], [107].
Theseus, the centre of the Two N. K., [27].
Timon, [101].
Titus Andronicus, [8].
Troilus and Cressida, [8], [65];
Shakspere's only bitter play, [101].
Two Noble Kinsmen. Date, [4];
origin of its story, [38];
plot chosen by Shakspere, [72];
sketch of it, [26], [55];
Shakspere's parts of it, [27-35], [40], [45-55], [59], [77];
Fletcher's parts, [35-40], [42-45], [59];
Summary of the argument for Shakspere's authorship, [105];
Table of the opinions on, p. [vi.], see too p. [10];
temper of the whole play, [82];
underplot not Shakspere's, [60], [62];
leading idea of the play, [81].
Venus and Adonis, [19], [25], [54].
Venus de Medici, statue, [87].
Wordsworth. The poetical interest of all outward things to, [91].

TRANSCRIBER'S NOTES:

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Page xvii: [original has extraneous quotation mark]P. S. As I am no great scholar

Page 36 sidenote: II.[period missing in original] i. one of the finest scenes that Fletcher ever wrote.

Page 40 sidenote: Act II. scene v. (Weber, sc. vi. [original has extra parenthesis]Littledale), are all Fletcher's.

Page 43 sidenote: Act III. scene iv. v. Fletcher's.[period missing in original]

Page 53 sidenote: Chaucer's[letter "s" missing in original] celestial agency to work out the plot.

Page 63 sidenote: Beaumont and[word "and" missing in original] Fletcher's.

Page 85 sidenote: Expression in Painting and Sculpture is a borrowd quality.[period missing in original]

Page 113: [original has extraneous quotation mark]To judge the question clearly

Page 118, under "Shakspere": distinctness of his images, 61[page number missing in original].

[104:1] page 107[original has 7]

[115:1] he had spoiled what Shakspere[original has Shakpere] would have done

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Page 8: It contains two plays not Shakspere's:

Page 50: Act V. scene v. (Weber, or sc. iii. Littledale).

Page 52: Act V. scene v. (Weber; or iii. Littledale).

Page 53: Act V. scene vi. (Weber; sc. iv. Littledale) Shakspere's.

Page 54: Act V. scene vi. (Weber; sc. iv. Littledale).

Page 55: Act V. scene vi. (Weber; sc. iv. Littledale).