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.