INDEX.
Reading edition
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.
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.