Introduction. Name of the play (p. [2]). Historical evidence in favour of Shakspere's share in the play ([6]). Incorrectness of the first and second folios of his works ([7]). Internal evidence ([10]). Marked differences between Fletcher's and Shakspere's styles ([11]). Shakspere's versification ([11]); abruptness ([11]); mannerisms and repetitions ([12]); conciseness tending to obscurity ([13]); and rapid conception, opposed to Fletcher's deliberation and diffuseness ([14]); his distinct, if crowded, imagery, to Fletcher's vague indefiniteness ([15]). Shakspere's metaphors ([16]), classical allusions ([18]), reflective turn of mind ([20]), conceits ([22]), personification ([25]), all differ from Fletcher's manner ([26]).
Origin of the story of The Two Noble Kinsmen ([26]). Sketch of First Act, and reasons for assigning it to Shakspere ([27]). Outline of Second Act, assigned to Fletcher ([35]). First Scene of Third Act, Shakspere's ([40]); Plot of the rest ([41]). Fourth Act, Fletcher's ([44]). Description of Fifth Act, given to Shakspere, omitting one scene ([45]).
Points of likeness between Shakspere and contemporary dramatists ([56]). Impossibility of imitating him ([58]). Inferiority of the underplot ([60]). Reasons for supposing Shakspere chose the subject ([62]). His studies ([67]). Resemblance between classical and romantic poetry ([69]). Shakspere's plots contrasted with those of his contemporaries ([73]); his treatment of passion ([74]); unity of conception ([78]).
Poetical art compared with plastic ([83]). Greek plastic art aimed at expressing Beauty and affecting the senses ([84]); poetry, at expressing and affecting the mind ([86]); therefore poetry appeals to wider sympathies ([88]). Dramatic poetry the highest form of poetry ([92]).
Why Shakspere excelled ([93]). His representations of human nature both true and impressive ([94]); he delineated both its intellect and passion ([99]). His morality ([101]); his representations of evil ([104]).
Conclusion. Summary of the argument as to plot, scenic arrangements, and execution ([105]).
LIFE OF PROFESSOR W. SPALDING,
BY HIS SCHOOL-FELLOW AND FRIEND,