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. TRANSCRIBER'S NOTES: