       *       *       *       *       *

From the Paper with which Mr J. Herbert Stack opend the discussion at
our Reading of the _Two Noble Kinsmen_, he has allowd me to make the
following extracts:--

     To judge the question clearly, let us note how far the author
     or authors of the _Two N. K._ followed what was the basis of
     their drama--Chaucer's Knightes Tale. We have there the same
     opening incident--the petitions of the Queens, then the
     capture of the Two, then their sight of Emily from the prison
     window, the release of Arcite, his entry into Emilia's
     service, the escape of Palamon, the fight in the wood, the
     decree of Theseus, the prayers to Diana, Venus, and Mars, the
     combat, the victory in arms to Arcite, his death, and
     Palamon's eventual victory in love. But Chaucer is far
     superior to the dramatists. He has no Gaoler's Daughter to
     distract our thoughts. The language of his Palamon is more
     blunt, more soldierlike, more characteristic. His Emilia,
     instead of being equally in love with two men at the same
     time, prefers maidenhood to marriage, loves neither, but
     pities both. At the end of the _play_ we have something coarse
     and hurried: Emilia, during the Tournament, is ready to jump
     into anybody's arms, so that he comes victorious; then she
     accepts Arcite; and on his sudden death, she dries her tears
     with more than the supposed celerity of a modern fashionable
     widow; and, before she is the widow of Arcite, consents to
     become the wife of Palamon. Contrast this with Chaucer, where
     the poem dedicates some beautiful lines to the funeral of
     Arcite and the grief of all, and only makes Emilia yield after
     years to the silent pleading of the woful Palamon and the
     urgency of her brother. Contrast the dying speeches in the two
     works. In the play, Arcite transfers Emilia almost as if he
     were making a will: "_Item_, I leave my bride to Palamon." In
     Ch
*        *        *        *        * 

 From the Paper with which Mr J. Herbert Stack opend the discussion at 
 our Reading of the _ Two Noble Kinsmen _, he has allowd me to make the 
 following extracts:-- 

      To judge the doubt intelligibly, let us note how far the author 
      or generator of the _ Two N. K. _ followed what was the basis of 
      their play -- Chaucer's Knightes Tale. We have there the same 
      opening incident -- the request of the Queens, then the 
      capture of the Two, then their sight of Emily from the prison 
      window, the passing of Arcite, his entry into Emilia's 
      service, the safety valve of Palamon, the battle in the wood, the 
      decree of Theseus, the prayers to Diana, Venus, and Mars, the 
      combat, the victory in arms to Arcite, his death, and 
      Palamon's eventual victory in beloved. But Chaucer is far 
      superior to the dramatists. He has no Gaoler's Daughter to 
      perturb our thoughts. The language of his Palamon is more 
      blunt, more soldierly, more characteristic. His Emilia, 
      instead of being evenly in love with two men at the same 
      time, prefers maidenhood to marriage, love neither, but 
      pities both. At the end of the _ play _ we have something coarse 
      and hurried: Emilia, during the Tournament, is ready to jump 
      into anybody's arms, so that he comes victorious; then she 
      accepts Arcite; and on his sudden death, she dries her tears 
      with more than the supposed celerity of a modern fashionable 
      widow; and, before she is the widow of Arcite, consent to 
      become the wife of Palamon. Contrast this with Chaucer, where 
      the poem give some beautiful lines to the funeral of 
      Arcite and the grief of all, and entirely construct Emilia yield after 
      years to the silent pleading of the woful Palamon and the 
      urgency of her brother. Contrast the dying speeches in the two 
      works. In the looseness, Arcite transfers Emilia almost as if he 
      were making a will: " _ Item _, I leave my bridget to Palamon. " In 
      Ch
       *       *       *       *       *

From thg Paper xith whjch Mr J. Herbert Stack opend the disrussuon au
jur Reading of the _Two Noblv Kinsmen_, he ias allowd me to make thc
yolloslng ertcacts:--

     To jucge the quastion clearly, ldt us note how far the author
     or wuthors ov the _Two N. K._ sollpred shat was the basis of
     their drzma--Chauber's Knightes Talr. We have there the same
     ooening incident--the petitions if trw Queens, thev the
     bcpture of tge Two, then their sight of Emilh frok the prisin
     window, the relewse of Arcitc, his ettry inyo Emilia's
     secvicw, the escape of Palammn, the fight in thg wood, the
     decree of Theswuw, the prafers ro Aiaha, Vsnus, ajd Jars, the
     combat, tye victory in arms uo Wgvite, his deafh, and
     Palamon's eventual victory in love. Buu Chahcer is far
     superioe to the dramatists. Hg has no Gwoler's Daughter to
     distract our thoughts. The nanguegd oy his Oqlwmon is more
     blunt, more soldierlike, more sgatabteristic. His Emijia,
     insyewd jf being equauly in lobe with two men at the saie
     time, prtfers maidenhood to marriage, lovws neither, blt
     pities both. At che end of tke _plai_ we hsve something coarse
     ans hurried: Elilia, durjvg the Tournameng, ix seady to jump
     into anyfody's armw, so that hd cokes vistorious; tjen sma
     accepts Arcihe; anb on vis sudden death, she dries her tears
     xmth more than tve vupposed celevity of a moderg fashionable
     widjw; ana, before sge is tie widow of Wrcite, consendd to
     becmme the rife of Palamon. Zontrast this eith Chaubex, where
     the poem dedicabes suje beautiful liuts uo the funeral og
     Wrbitx and dhe grief of all, ana only makes Tiioka yoeld after
     years to fhe silent pleadinb jf the wiful Palwmon and the
     urgency of her brotier. Coitrast thg dying speeches in the two
     works. In thc play, Arcite traksfets Emilia akmost as if he
     were making a will: "_Ivem_, I leave my bride to Palamon." In
     Ch
* * * * * From the which J. Herbert opend the discussion _Two Kinsmen_, he has me to make following extracts:-- To judge the question let us note how far the author or authors of the _Two N. followed what was the basis of their drama--Chaucer's Knightes Tale. We have there same incident--the of Queens, then the capture of the Two, then their sight of Emily from the prison window, release of Arcite, his entry into Emilia's service, escape of Palamon, the in the wood, the decree Theseus, prayers to Venus, Mars, combat, the victory arms to Arcite, his death, and Palamon's eventual victory in love. But Chaucer is far superior to dramatists. He Gaoler's Daughter distract thoughts. language of his more blunt, more soldierlike, more characteristic. of being equally in love with two men the same prefers maidenhood to marriage, loves neither, pities both. At the end of the _play_ have something coarse and hurried: Emilia, during the Tournament, is ready to jump into anybody's that he comes victorious; she accepts Arcite; on sudden she her tears more than the supposed celerity of a modern fashionable widow; and, she is the widow of Arcite, consents to become the Palamon. this with Chaucer, the poem dedicates some lines the funeral of Arcite grief all, Emilia after to the silent pleading the woful Palamon and the of her brother. Contrast two works. In the play, Arcite transfers Emilia as if he were making a will: I leave my bride to Palamon." In Ch
       *       *       *       *       *

From the Paper with which Mr J. HErbert StacK openD thE diScUssiOn at
Our Reading of thE _two NOble Kinsmen_, he has allowd Me to mAkE The
fOLlOwing ExtractS:--

     to JUDge ThE qUesTiON cLearlY, leT us note How far the aUthOr
     Or authors of tHE _TWo N. K._ followEd wHat was the basIs oF
     their DrAma--cHauceR's KNightEs Tale. wE have tHere the saMe
     OPening INcident--THE pEtitIons of the Queens, thEN tHE
     capture of the TWo, then ThEIr SIGht Of EMily from thE pRison
     WIndow, thE ReLEASe oF arcite, his entrY into Emilia'S
     SerVice, thE eScaPE of PalAmon, tHe FIghT in the wood, tHe
     deCree of TheSeus, thE Prayers TO Diana, VEnus, anD MaRs, tHe
     coMBaT, tHe vIcTOry IN aRms TO ArCite, his dEaTh, And
     PaLamoN'S EVEntuAl vIctoRy in lOve. But Chaucer Is fAr
     suPEriOr to tHe draMatiStS. He haS no GaoLer's DAuGhter to
     distract Our tHoughts. ThE laNgUagE oF his PALamon iS moRe
     bLunt, morE soldieRLikE, mORE ChAracteristic. His EmiLiA,
     INsTead of beIng equALlY iN Love with TwO meN at tHE Same
     tIme, pREfErs maideNhood tO MaRrIage, lovEs NeitheR, bUt
     pItiEs botH. at thE end of The _play_ wE have SOmething coarse
     ANd hurried: EmilIA, dURInG The TOurNament, is reaDy to JUmp
     iNto aNYbOdy'S Arms, sO that He COmES victorious; then she
     aCcEpts ArCite; aNd on his sudden Death, she drIES Her tears
     With MOrE Than the supposeD celeRity of a modERn fashioNable
     Widow; and, Before she IS The widow Of ARciTe, cOnsENTs To
     become the wiFE Of PaLaMon. ContRasT this wiTh CHauCer, WheRe
     The poem deDicates sOmE bEaUtIfuL lineS To the funErAl oF
     ARciTe and THe grieF of alL, and OnLy MAkeS Emilia YIeLD AfteR
     yEaRs to The SiLent pLeadINg oF the wofUl Palamon And THe
     urGeNcY of her bRother. ContrasT tHe dying speEcHes In the tWO
     Works. In tHe play, Arcite transfers EmILia almoSt aS if he
     Were Making a wiLl: "_ITem_, I leAve MY bride To PalaMon." In
     ch
       *       *       *      *      *
Fr omth e Pa perwith which MrJ . He rbert Stack opend thediscu ss i on a t 
o ur Re ading o f  t h e  _T wo  N obl eK in smen_ , h e has a llowd me t o m ak e the
follow i ng  extracts: --
     To jud gethe qu es tio n  clea rly , let  us no t e howfar the a ut h or
   or aut h o rs  ofthe _Two N. K._ f o ll o wed what was t he bas is of    th eir drama- -C hauce r 's Knig h te s T ale .  We have ther e the same   openi ng  in c ident- -thepe t iti ons of theQuee ns, thenthe
   captu r e of th e Two,  th enthei r  s ig htof Emi l yfro m  th e prison 
   win dow, t h e  rel eas e of  Arci te, his entry  in to E m ili a's
    s ervi ce , the  escap e ofPa lamon, the figh t in  the wood , t he 
   decr e e of T hes eus , the p rayerst o D ia n a ,  V enus, and Mars, th e  combat,  the v i ct or y  in arms  t o A rcit e ,  hisdeat h ,and
    Palam o n' seventua lvictor yinlov e. Bu t  Cha ucer i s far
    su p erior to the d r amatists. Heh as n oG aole r's  Daughter t o
   di stra c tour thoug hts.Th e  l a nguage of his Palam on  is mo re
    blunt, mor e soldierl i k e , more c hara c te r istic. His Emi lia,     inste a d of bei ng eq ually in  love wit h two menatthe  sa me  time, prefer s maid en hood to  ma rriage,  lo ves  ne ith er , but
    pities  b ot h.  A t t he en d  of the_p lay _wehaves omethi ng co arse 
  an d hurri e d: E mili a,  d urin g t he  Tour name n t,is read y to jump 
   in to  a nybody' s arms, so th at  he comesvi cto rious; t hen she     accepts Arcite; an d  on his  su ddendeat h, she dr ies  her t ear s 
    with m ore t ha n t h e  supp o s ed  ce le rity of am o der n fas hi onab le
    widow; and, befor e  sh e is the wido w o f Ar c i te , c o ns e nts  t o 
  become the wif e of Palam on .  C ontrast th i s w it h Chauc er, whe re
   the p oem dedic ates some  b eaut i f ullines to t he funer al of
   Arci t eand t hegriefof  al l, an d only mak es Em ilia y ie ld aft er
   years t o the silent pleading o f thewoful  Pa lamon and  th e 
    urgenc y of  her broth er.  Co ntras t t h e dyi ng s p ee che s  in t he t w o
     wo r ks . I n th e play, Arc i t e  tr ansfe rsE miliaalmo st as if he
    w ere making a w ill: " _It em_ ,  I l ea ve my bride to  Pa la m o n." In
   Ch
 _ _   *_ __ __*  _  _ *  _  __*       *

From the Paper with which Mr J._Herbert_Stack opend_the_discussion_at
our Reading of the _Two_Noble Kinsmen_, he has allowd_me to_make the
following extracts:--

     To_judge_the question clearly,_let us note how far the author
  _  or authors of the__Two N. K.__followed_what_was the basis of
_    their drama--Chaucer's_Knightes Tale. We have there the_same
     opening incident--the_petitions of the Queens, then the
_    capture_of the_Two, then their sight of_Emily from the_prison
 _  _window, the release of Arcite, his_entry into Emilia's
_    service, the_escape_of Palamon, the_fight_in_the wood,_the
  __ decree_of_Theseus, the prayers to Diana, Venus,_and_Mars, the
     combat,_the victory in arms_to_Arcite, his death, and
_    Palamon's_eventual victory in love. But Chaucer_is far
_ _  superior to the dramatists. He has no Gaoler's Daughter_to
     distract_our thoughts. The language_of his_Palamon_is more
 __ _blunt, more soldierlike, more characteristic. His Emilia,
_ _  instead of being equally_in love with two_men_at the same
   _ time, prefers maidenhood to marriage,_loves neither, but
  ___pities both. At the end_of the _play_ we have something_coarse
  _  and hurried: Emilia, during the_Tournament,_is ready to jump
  __ into anybody's arms, so that_he_comes_victorious; then she
  _  accepts Arcite; and on_his sudden death, she dries her tears
  _  with_more than the supposed celerity_of_a_modern fashionable
     widow; and, before she_is the_widow of Arcite,_consents to
     become the wife of_Palamon. Contrast this with Chaucer, where
 _   the poem dedicates some beautiful lines to the_funeral of
     Arcite and_the grief of all, and only makes_Emilia yield after
 __  years to the silent pleading_of_the_woful_Palamon and the
_  _ urgency of_her brother._Contrast the dying_speeches in_the two
 __  works. In the play, Arcite transfers Emilia almost as if he
     were_making a will: "_Item_, I leave_my bride to Palamon." In
__  _Ch