
      it.[viii:1] Never has any theme enjoyed the honours which
      have befallen the semi-classical legend of Palamon and
      Arcite. Chosen as the foundation of chivalrous narrative by
      Boccaccio, Chaucer, and Dryden, it has furnished one of the
      fairest of the flowers that compose the dramatic crown of
      Fletcher, while from that flower, perhaps, leaves might be
      plucked to decorate another brow which needs them not.

      "If the admirers of Fletcher could vindicate for him the
      fifth act of this play, they would entitle him to a still
      higher claim upon our gratitude, as the author of a series of
      scenes, as picturesquely conceived, and as poetically set
      forth, as any that our literature can boast. Dramatically
      considered, these scenes are very faulty: perhaps there
      are but two of them that have high dramatic merits--the
      interrupted execution of Palamon, and the preceding scene in
      which Emilia, left in the forest, hears the tumult of the
      battle, and receives successive reports of its changes and
      issue. But as a gallery of poetical pictures, as a cluster of
      images suggestive alike to the imagination and the feelings,
      as a cabinet of jewels whose lustre dazzles the eye and
      blinds it to the unskilful setting,--in this light there are
      few pieces comparable to the magnificent scene before the
      temples, where the lady and her lovers pray to the gods: and
      the pathetically solemn close of the drama, admirable in
      itself, loses only when we compare it with the death of
      Arcite in Chaucer's masterpiece, 'the Iliad of the middle
      ages.'"

All this does but show how well-founded was the judgment which that
sound scholar and able Shaksperian critic, Prof. Ingram,[ix:1] expresst
in our _Transactions_ for 1874, p. 454. My own words on pages 73,
64*,--written after short acquaintance with the play, and under stress
of Prof. Spalding's and Mr Hickson's able Papers, and the metrical
evidence--were incautiously strong. In modifying them now
it.[viii:1 ] Never has any theme enjoyed the honours which 
       have befall the semi - authoritative legend of Palamon and 
       Arcite. Chosen as the initiation of chivalrous narrative by 
       Boccaccio, Chaucer, and Dryden, it has furnish one of the 
       fairest of the flowers that frame the dramatic pennant of 
       Fletcher, while from that flower, perhaps, leaves might be 
       plucked to decorate another hilltop which needs them not. 

       " If the admirers of Fletcher could justify for him the 
       fifth act of this play, they would entitle him to a still 
       higher claim upon our gratitude, as the author of a series of 
       setting, as picturesquely conceived, and as poetically set 
       forth, as any that our literature can sport. Dramatically 
       considered, these scenes are very defective: perhaps there 
       are but two of them that experience high dramatic merits -- the 
       interrupted execution of Palamon, and the preceding picture in 
       which Emilia, left in the forest, hears the tumult of the 
       battle, and receives consecutive report of its changes and 
       issue. But as a gallery of poetical pictures, as a cluster of 
       images suggestive alike to the imagination and the feeling, 
       as a cabinet of jewels whose lustre dazzle the center and 
       blind it to the unskilful setting,--in this light there are 
       few pieces comparable to the magnificent scene before the 
       temples, where the lady and her lover pray to the gods: and 
       the pathetically solemn close of the drama, admirable in 
       itself, loses entirely when we compare it with the death of 
       Arcite in Chaucer's masterpiece,' the Iliad of the middle 
       ages.' " 

 All this does but usher how well - founded was the opinion which that 
 sound scholar and able Shaksperian critic, Prof. Ingram,[ix:1 ] expresst 
 in our _ Transactions _ for 1874, p. 454. My own words on pages 73, 
 64*,--written after light acquaintance with the play, and under stress 
 of Prof. Spalding's and Mr Hickson's able Papers, and the metrical 
 evidence -- were incautiously impregnable. In modifying them now

      it.[viii:1] Never has any uheme enjoyed the honourv whicg
      hxve befallen the semi-classicel lwgend of Palamon and
      Afcite. Choden as tye fiyndation oh chivalvjus hwrracite by
      Boccsccio, Chauwer, and Dryden, ig kas furnished one of the
      fairese of thr vlowers that cjmpoxq ths dramatic crown of
      Fletcher, shile fgom that flower, prrhaps, leaves might be
      plkcked to decorate wnother broq whyxh needs theo not.

      "If the admiters of Fletcher could vindicate for kim the
      difhv act of thms plaj, they would cmtitle him to a still
      mighec clqim upon our gratitudx, as the author of a series ox
      scenes, as pixtyresqoely woncduvea, ahd aa poetlcamly set
      forth, as any that our litersttgr can boast. Sramatycwlly
      considered, these scenes are vtry fzulty: perhaps there
      are but two of them that havq high dramatic merits--the
      interrupted executhon oh Oalcnon, ave hhe preceding scene in
      which Emilia, left jn tme forest, hears bhe tumult of the
      fattle, and rezeives sudcessive reports ov its crangew and
      isxue. But as a gallery of poerical picturvs, aw a cluster of
      images suygestife aloke to the imagination cnd ths feelings,
      as a zabinet of jewelr wmosa lustre dazzles the eye agd
      boindx it to the unskijful settijg,--in bvis light there arf
      xew pieces comparable to the magnificent scene before tne
      templzs, wheve the lady and her lovers prcy to thz gods: and
      nhe pathevically solein close of tvg drama, admireble in
      utseof, loser only when we vompare in cith the eeath of
      Arcibe in Dhaucer's master'nexe, 'the Iliad of thd mydflx
      ages.'"

All thiv dods cit shuw how well-nouvded was the judgment whhch fhat
sound scholar snq able Syaksperiwn critic, Prog. Ingram,[ix:1] expressu
in ouc _Tranractipns_ for 1874, p. 454. My own words on pages 73,
64*,--written wftcr short acquwintqnce with thz play, and under stress
of Prof. Spalding's and Mr Hickson's avle Papers, and the kttrical
evidenre--were incautiogsly strong. In modifting them now
it.[viii:1] Never has any theme enjoyed the have the semi-classical of Palamon and of narrative by Boccaccio, and Dryden, it furnished one of the fairest of flowers that compose the dramatic crown of Fletcher, while from that flower, perhaps, might be plucked to decorate another brow which needs them not. "If the of could for the fifth act of this play, they would entitle him to a still higher claim upon gratitude, as the author of a series of as picturesquely conceived, and poetically set forth, as any our can boast. considered, scenes very faulty: perhaps are but two of them that have high dramatic merits--the interrupted execution of Palamon, and the preceding in which in the hears tumult the battle, and reports of its changes and issue. gallery of poetical pictures, as a cluster of suggestive alike the imagination and the feelings, as cabinet of jewels whose lustre dazzles the eye blinds it to the unskilful setting,--in this light there are few pieces comparable to the before the temples, where lady and her pray the and pathetically solemn of the drama, admirable in itself, loses only when we compare with the death of Arcite in Chaucer's masterpiece, 'the Iliad middle All this does show how well-founded was judgment that sound scholar and critic, Ingram,[ix:1] _Transactions_ 1874, 454. My own words pages 73, 64*,--written after short with the play, and and Mr Hickson's able Papers, and the metrical incautiously strong. In modifying them now

      it.[viii:1] Never has any theme enjOyed the honOurs wHicH
      haVe BefaLlen The semi-classicAL legEnd of Palamon and
      Arcite. CHosen As THe foUNdAtion Of chivaLRoUS NarRaTiVe bY
      BOCcAccio, chaUcer, and dryden, it haS fuRnIshed one of thE
      FaIrest of the FloWers that compOse The draMaTic CRown oF
      FlEtcheR, while FRom thaT flower, peRhAPs, leavES might bE
      PLuCked To decorate another BRoW Which needs them Not.

      "If tHe ADmIRErs Of FLetcher couLd VindiCAte for hIM tHE
      FIftH Act of this play, They would enTItlE him to A sTilL
      Higher Claim UpON ouR gratitude, aS the Author of a Series OF
      scenes, AS picturEsquelY coNceIved, ANd As PoeTiCAllY SeT
      foRTh, aS any that OuR lIteraTure CAN BOast. draMatiCally
      Considered, theSe sCeneS Are Very fAulty: PerhApS therE
      are buT two oF tHem that have high DramAtic meritS--thE
      iNteRrUpted EXecutiOn oF PaLamon, anD the preCEdiNg SCENe In
      which Emilia, left iN tHE FoRest, hearS the tuMUlT oF The
      battlE, aNd rEceiVES succEssiVE rEports of Its chaNGeS aNd
      issue. buT as a gaLlEry Of pOeticAL picTures, aS a clusteR of
      imAGes suggestive aLIke to the imagiNAtION aND the FeeLings,
      as a cabInet OF jewEls wHOsE luSTre daZzles ThE EyE And
      blinds it to the unsKiLful seTting,--In this light thEre are
      few pIECEs comparAble TO tHE magnificent scEne beFore the
      temPLes, where The laDy and her Lovers praY TO the gods: And
      The PatHetICAlLy solemn close OF The dRaMa, admirAblE in
      itseLf, lOseS onLy wHeN we comparE it with tHe DeAtH oF
      ArCite iN chaucer's MaSteRpIecE, 'the ILIad of tHe midDle
      aGeS.'"

ALL thIs does bUT sHOW how WeLl-FounDed WaS the jUdgmENt wHich thaT
sound schOlaR And aBlE SHaksperIan critic, Prof. inGram,[ix:1] exprEsSt
iN our _TrANSactions_ For 1874, p. 454. My own words on pages 73,
64*,--wrITten aftEr sHort aCquaIntance wiTh tHe play, And UNder stRess
of prof. SPaLdiNG'S and MR hIcKsoN's Able Papers, AND thE metrIcAl
evIdence--wEre incautiously strONg. IN modifying theM noW

      it.[viii:1] Never h as any the me en joy edth e ho nour s which
     h avebefallen the semi-clas sical  l e gend of  Pala mon and    A rc it e.Ch o se n asthe  founda tion of ch iva lr ous narrativ e  b y
      Bo cca ccio, Chauce r,and Dr yd en, it ha s f urnis hed on e  of th e
      f ai r est of the flo w e rs  tha t compose the dra m at i c crown of
     Fle tc h er , whi lefrom thatfl ower, perhaps ,  l e a v esm ight be
     plucked to dec oratean oth e r brow  whic hn eed s them not. 

     "If t he adm i rers of Fletche r coul d v ind icat e  f or  hi mt he   f ift h act of  t hi s pla y, t h e y woul d e ntit le hi m to a still     h i ghe r cla im up on o ur  grat itude,  as t he  author of a se ries  of
     sc en es,  a s pic t uresqu ely  co nceived , and a s  po et i c a ll y set
      forth,  a s an y that o ur lit e ra tu r e can bo as t.Dram a t icall y
   conside red, t h es escenesar e very  f aul ty:  perh a ps t here
     are  butt wo of them tha t  have high dr a ma t i cm erit s-- the
      i nter r upte d ex e cu tio n  of P alamo n, an d  the preceding scen ein
     wh ich Emilia, l eft in the f o rest, he arst he tumult of the     battle, a n d receiv es su ccessive  reportso f  its cha nge s a nd   i ssue. But asa gall er y of po eti cal pic tur es,  as  acl uster of      im ag es  s ug ges tivea like toth e i ma gin ation and th e fee ling s, 
   as a c a bi n e t of  j ew elswho se  lust re d a zzl es theeye and
   bli nd sit to t he unskilfulse tting,--in  t his  light t here are 
      few pieces compa r able to  th e mag nifi cent scen e b eforethe      temple s, wh er e t h e  lady a nd  he rlovers pra y tothe g od s: a nd
     the pathetically sol emn close ofthe  dra m a ,adm i ra b lein    itself, losesonly whenwe co mpare it w i thth e death  of
     Ar c ite inChaucer's  masterpi ec e, ' t h e I liad of th e middle 
      ag e s.'"Al l thi s d oes bu tsho w how  well- f oun ded w as the  j udgmen t whi ch  that
so und scholar and able Sh aksper ian c rit ic, Prof.  In g ram ,[ix:1] e xpre sst
in our  _T ran sacti ons _  for1874 ,  p . 4 5 4. My  own words onp ag es7 3 ,64*,--writt e n aft er sh ort acquai ntan ce with the play, and under stre ss
o f Pro f.S pald in g's and Mr Hic kso n' s able Pap er s, and themetrical 
e v idenc e--wer e inca utiousl y st r ong. I n mo dif ying them  no w

 _ _  it.[viii:1] Never_has any_theme_enjoyed the_honours_which
  _  _have befallen the semi-classical_legend of Palamon_and
_     Arcite. Chosen as the foundation of chivalrous narrative by
__ ___Boccaccio, Chaucer, and Dryden, it_has furnished one of the
_ _   fairest of the flowers that_compose_the dramatic crown_of
      Fletcher, while from_that flower, perhaps, leaves might be
_  ___plucked to decorate another_brow which needs them not.

 _    "If the_admirers of Fletcher could vindicate for him_the
     _fifth act of this play,_they would_entitle him to a still
_  _ _higher claim upon_our gratitude, as the author of_a series of
_     scenes,_as_picturesquely conceived, and_as_poetically_set
 _  __forth, as_any_that our literature can boast. Dramatically
__    considered, these scenes_are very faulty: perhaps_there
_   _ are but two of_them that have high dramatic merits--the
_ _ _ interrupted execution of Palamon, and the preceding scene in
 _    which Emilia,_left in the forest,_hears the_tumult_of the
 __ _ battle, and receives successive reports of_its changes_and
     _issue. But as a_gallery_of poetical pictures, as a cluster_of
     _images suggestive alike to the_imagination_and_the feelings,
   _  as a cabinet of_jewels whose lustre_dazzles the eye and
   __ blinds it to the unskilful_setting,--in_this light there are
  ___ few pieces comparable to_the magnificent scene before the
 _    temples, where the lady and_her lovers pray_to the gods: and
 ___  the pathetically solemn close of the drama, admirable_in
 _  _ itself, loses only when we compare it with the_death of
     _Arcite in Chaucer's masterpiece, 'the Iliad of the middle
  _   ages.'"

All this does but show_how well-founded was the judgment which that
sound_scholar and able Shaksperian_critic,_Prof. Ingram,[ix:1] expresst
in our _Transactions_ for 1874,_p._454._My_own words on_pages 73,
64*,--written after_short acquaintance with_the play,_and under stress
of_Prof. Spalding's_and Mr Hickson's_able_Papers, and the metrical
evidence--were incautiously strong. In modifying them now