It is thus, I think, proved almost to demonstration, that the person who chose this subject was not Fletcher; and what has been already said, even without the specific evidence of individual passages, creates a strong probability that the choice was made by Shakspeare rather than by any other dramatic poet of his time. If the question be merely one between the two writers,--if, assuming it to be proved that Shakspeare wrote parts of the play, we have only to ask which of the two it was that chose the subject,--we can surely be at no loss to decide. [Sidenote: Shakspere's study of chivalrous poetry.] But the presumption in Shakspeare's favour may be elevated almost into absolute certainty, while, at the same time, some important qualities of his will be illustrated,--if we inquire what was the real extent to which he attached himself to the study of the chivalrous poetry, from which this subject is taken, and the influence which that study was likely to have had, and did actually exercise on his writings. If, being told that a dramatic poet was born in England in the latter half of the sixteenth century, whose studies, for all effectual benefit which they could have afforded him, were limited to his own tongue, we were asked to say what course his acquisitions were likely to have taken, our reply would be ready and unhesitating. English literature was of narrow extent before the time in question, and, according to the invariable progress of mental culture, had been evolved first in those finer branches which issue primarily from the ima[67:1]gination and affections, and appeal for their effect to the principles in which they have their source. [Sidenote: Shakspere certain to have first studi'd, and been influenct by, our old narrative poets,] Poetry had reached a vigorous youth, history was in its infancy, philosophy had not come into being. Had the field of study been wider, it was to poetry in an especial manner that a poet had to betake himself for an experience and skill in his art, and in the language which was to be its instrument. And it was almost solely to the narrative poets that Shakspeare had to appeal for aid and guidance; for preceding writers in the dramatic walk could teach him little. They could serve as beacons only, and not examples, and he had to search in other mines for the materials to rear his palace of thought. [Sidenote: who were of the Gothic school.] But the English poetical writers who preceded him are all more or less impressed with the seal of the Gothic school, and the most noted among them belong to it essentially. Chaucer, Lydgate, and Gower, to more than one of whom Shakspeare is materially indebted, were the heads of a sect whose subjects and form of composition were varied only as the various forms and subjects of the foreign romantic writers. [Sidenote: Britain the mother of much fine chivalrous poetry.] The rhymed romance, the metrical vision, the sustained allegorical narrative or dialogue, were