SKELETON OF PROF. SPALDING'S LETTER.

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).