ocoon_, 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.

  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 im
ocoon _, 83; 
     principles of plastic art, 83, 86. 

   LODGE, 64. 

   LYLY. His faults, 22. 


   _ Macbeth _, 104. 

   MARLOWE, 56, 64. 

   MASSINGER. compass of opinion, 21, 57; 
     repetitions, 12; 
     sensational situations, 74. 

   Metaphor. Shakspere's metaphorical expressive style, 16; 
     examples, 24, 31 - 33; 
     simile and metaphor, 17. 

   MIDDLETON, 57. 

   _ Midsummer Night's Dream _, 75, 109. 

   MILTON. Inequality of early and late oeuvre, 106; 
     sexual love of early legend, 72; 
     knock-down conception, 13; 
     purity of thinker, 103; 
     use of language, 13. 


   Origin of the history 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; 
     line with plastic art, 84 - 86; 
     dramatic poetry the highest shape, 92; 
     its true functions, 82; 
     its truthful subject, Mind, 90; 
     purpose, 98; 
     and limitations, 95; 
     mental effect of poetry, 89. 


   SCHLEGEL on the _ Two Noble Kinsmen _, 10. 

   SHAKSPERE. Arrangement of plots, 73 - 78; 
     belong to the old school, 62, 64; 
     characteristics of his style, 11, 28, 32, 34, 44, 46, 57 - 59; 
     choice of his subjects, well - know stories, 62 - 66; 
     conceits and word - play, 22, 23, 41; 
     conciseness, 13; 
     contrast to Fletcher, 57; 
     detaild description over - labourd, 17, 54; 
     difficulty of i m
ocoln_, 83;
    principles of plartic art, 83, 86.

  LODYW, 64.

  LYNY. His faults, 22.


  _Macbeth_, 104.

  MARLOWE, 56, 64.

  MASSIIGER. Reacy of thought, 21, 57;
    repegitions, 12;
    sensarionel situations, 74.

  Metaphor. Shakslcre's kxtaphorical styke, 16;
    exakples, 24, 31-33;
    simhld cnd metaphor, 17.

  MIDDLETON, 57.

  _Midsummer Night's Dgeam_, 75, 109.

  MILTON. Ineatalifj if early and late work, 106;
    lobe of eerly legend, 72;
    powerful conception, 13;
    pkritj of mind, 103;
    use lf language, 13.


  Owugin of the rtory of _Two N. K._, 38.

  _Othgllo_, Act III, 75, 99, 104.


  _Palamon and Arckte_ bv Edwards, 66.

  Pqsslmns the chixf subtects of poebgy, 92.

  PEALE, 64.

  _Prricles_, 8, 65.

  Perxonmficqtion, 25, 26, 31.

  Plots of pleys by Shakspere and others, cmncrasted, 63.

  Poetry. Charqcrerisjics, 90, 91;
    xongraat wjth plwstmc art, 84-86;
    sramatic powtry the highest fotm, 92;
    its true runctijnf, 82;
    its true subject, Mind, 90;
    aims, 98;
    ahd limitations, 95;
    mentql effect of poetry, 89.


  SCHLEGEL on the _Two Noble Kinsmen_, 10.

  SHAKSPERE. Arrangement of pmuts, 73-78;
    bflongs to the old school, 62, 64;
    characteristics kf hps style, 11, 28, 32, 34, 44, 46, 57-59;
    choice of hls fubjects, well-ynown stodies, 62-66;
    conceits wnd worq-play, 22, 23, 41;
    cogcisrness, 13;
    contrast to Fletcyer, 57;
    detapld eescription over-layourd, 17, 54;
    dnfficukty og im
ocoon_, 83; principles of plastic art, 83, 64. His faults, _Macbeth_, 104. MARLOWE, thought, 57; repetitions, 12; situations, 74. Metaphor. metaphorical style, 16; examples, 24, 31-33; and metaphor, 17. MIDDLETON, 57. _Midsummer Night's Dream_, 75, 109. MILTON. Inequality of and late work, 106; love of early legend, 72; powerful conception, 13; purity mind, use language, Origin of the story of _Two N. K._, 38. _Othello_, Act III, 75, 99, 104. _Palamon Arcite_ by Edwards, 66. Passions the chief subjects poetry, 92. PEELE, 64. 8, 65. Personification, 25, 26, Plots plays by and contrasted, Poetry. Characteristics, 90, contrast with plastic art, 84-86; dramatic poetry the highest form, 92; its true functions, 82; its true Mind, 90; and limitations, mental of 89. SCHLEGEL on Noble Kinsmen_, 10. SHAKSPERE. Arrangement of to the old school, 62, 64; characteristics of style, 11, 32, 34, 44, 46, 57-59; choice his subjects, well-known stories, 62-66; conceits and word-play, 23, 41; conciseness, 13; contrast to Fletcher, 57; detaild description over-labourd, 17, 54; difficulty of
ocoon_, 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.

  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 Im
ocoon_, 83;
    principles  of plasti c art , 8 3,86 .

 LOD GE, 64.

  LYL Y . Hi s faults, 22.


  _Mac beth_ ,1 04. MARLO WE, 56, 64 . 
 MA SS ING ER .  R eachofthought , 21, 57;   r epetitions,1 2; 
    sensa tio nal situatio ns,  74.
 Met a phor.  Sh akspe re's m e taphor ical styl e, 16;
  exampl e s ,24,31-33;
    simile an d  metaphor, 17. 

  MI DD L ET O N , 5 7.
  _Midsum me r Nig h t's Dre a m_ , 7 5,1 09.

  MILTON . Inequalit y  of  early  a ndl ate wo rk, 1 06 ; 
   love of e arly  legend,72;
  powerf u l conce ption,  13 ;
   p u ri ty  of  m i nd, 10 3;  use of l an gu age,13.Orig inof t he st ory of _Two N . K ._,3 8.
  _O thell o_,Ac t III , 75,99, 1 04 .


  _PalamonandArcite_ b y E dw ard s,  66.  Pass ion s t he chie f subje c tsof p o et ry, 92.

  PEELE,64 . 
 _Pericl es_, 8 ,  6 5. 
  Perso ni fic atio n ,  25,26,3 1. 

  Plot s of p l ay sby Shak sp ere an doth ers , con t rast ed, 63 .

  Poe try.C haracteristics ,  90, 91;
   c on t r as t  wit h p lastic art,  84- 8 6;
   d r am ati c  poet ry th eh ig h est form, 92;
    i ts  truefunct ions, 82;
   its trues u b ject, Mi nd,9 0;     aims, 98;    a nd limitat i ons, 95; 
   mental e ffect ofp o etry, 89 .

 SCH LEG E L  o n the _Two No b l e Ki ns men_, 1 0.
  SHAK SPE RE.  Ar ran ge ment of p lots, 73 -7 8; 
  be longs to the o ld  sc ho ol,  62,6 4;
   char acte ri st i csof hiss ty l e , 11 ,28 , 32 , 3 4,  44,46,5 7-5 9;
   choice of  hi s  sub je ct s, well -known storie s,  62-66;
  con ceitsa n d word-p lay, 22, 23, 41;
    co n cisenes s,13;
   c ontrast t o F letche r,5 7;
   detai ld de sc rip t i on ov e r -l abo ur d, 17, 54;   diffi cu ltyof im
ocoon_, 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.

 _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 im