[116:1] Also my view—though I hesitate to express a firm opinion on the matter—PERHAPS Shakspere worked on the 1594 play as a basis?—H. L.
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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