[115:2] But this is confessedly the case with Chaucer's _Troilus_.--F. [Not quite. In _Troilus_ the travestie is intentional: in the _Two N. K._ Chaucer is solemnly Cibberised.--J. H. S.] [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.