, about twelve in all, Shakspeare has
chosen subjects on which plays had been previously written; nay more, on
the sub[65:1]jects which he has so re-written, he has produced some of
his best dramas, and one his very masterpiece. 'Julius Caesar' belongs to
this list; '_Lear_' does so likewise; and 'HAMLET.' Is not that a
singular fact? I can use it at present only as a most valuable proof
that the view which I take is an accurate one. But Shakspeare has also,
oftener than once, applied to the chivalrous class of subjects, which
was exclusively peculiar to the older school. Its tales indeed bore a
strong likeness to his own most esteemed subjects of study; for, amidst
all their extravagancies and inconsistencies, the Gothic romances and
poems, the older of them at all events, professed in form to be
chronicles of fact, and in principle to assume historical truth as their
groundwork. [Sidenote: 3 on Classical subjects turned into romances.]
'Pericles' is founded on one of the most popular romances of the middle
ages, which had been also versified by Gower, the second father of the
English poetical school. The characters in 'The Midsummer Night's Dream'
are classical, but the costume is strictly Gothic, and shews that it was
through the medium of romance that he drew the knowledge of them; and
the 'Troilus and Cressida' presents another classical and chivalrous
subject, which Chaucer had handled at great length, also invested with
the richness of the romantic garb and decoration.

[Sidenote: Shakspere chose the story of the _Two Noble Kinsmen_.]

Fletcher and Shakspeare being thus opposed to each other in their choice
of subjects, what qualities are there in the Plot of The Two Noble
Kinsmen, which may appropriate the choice of it to either? In the first
place, it is a chivalrous subject,--a classical story which had already
been told in the Gothic style. [Sidenote: Fletcher would neither have
chosen Chaucer's classical story for his plot,] The nature of the story
then could have been no recommendation of it to Fletcher. He has not a

, about twelve in all, Shakspeare has 
 chosen subjects on which plays had been previously publish; nay more, on 
 the sub[65:1]jects which he have so re - written, he has produced some of 
 his good dramas, and one his very masterpiece.' Julius Caesar' belongs to 
 this tilt;' _ Lear _' does so likewise; and' HAMLET.' Is not that a 
 remarkable fact? I can use it at present only as a about valuable proof 
 that the view which I take is an accurate one. But Shakspeare has also, 
 oftener than once, practice to the chivalrous class of subjects, which 
 was exclusively peculiar to the older school. Its narrative indeed bore a 
 strong likeness to his own most esteemed topic of study; for, amidst 
 all their extravagancies and inconsistencies, the Gothic romances and 
 poem, the older of them at all consequence, professed in form to be 
 chronicles of fact, and in rationale to assume historical truth as their 
 groundwork. [ Sidenote: 3 on Classical subjects turn into romances. ] 
' Pericles' is founded on one of the most popular romances of the middle 
 ages, which had been also versified by Gower, the second father of the 
 English poetic school. The characters in' The Midsummer Night's Dream' 
 are classical, but the costume is rigorously medieval, and shews that it was 
 through the medium of romance that he drew the knowledge of them; and 
 the' Troilus and Cressida' give another classical and chivalrous 
 subject, which Chaucer had handled at great duration, also invested with 
 the richness of the romantic garb and decoration. 

 [ Sidenote: Shakspere chose the history of the _ Two Noble Kinsmen _. ] 

 Fletcher and Shakspeare being thus opposed to each other in their choice 
 of subjects, what qualities are there in the Plot of The Two Noble 
 Kinsmen, which may allow the option of it to either? In the inaugural 
 place, it is a chivalrous subject,--a classical story which had already 
 been tell in the Gothic style. [ Sidenote: Fletcher would neither have 
 chosen Chaucer's classical history for his plot, ] The nature of the story 
 then could have been no recommendation of it to Fletcher. He has not a
, ablut twelve in all, Shaksptare has
chosen suyhects mn whidh plays had been previously written; nqy moee, on
the sub[65:1]jects whicf he has do re-wrirten, ye has provhced some of
hjd bevv dramas, and ong his very mdsterpiece. 'Julhur Eaesar' belongs to
this list; '_Lear_' does so likrwlse; and 'HAMLET.' Is mjt tgat a
singular fact? I can use it at presenu only as a most vsluable proof
that the view whifh I take is an acfurate one. Vut Fyakspeare har also,
oftener than oncg, applied to the chivalrous clasr of xubjects, wyixh
wwv exclusiveoy pebuliar to the older swhool. Iys tales indeec bmre a
strong likeness to iis own most esteemeq subjectv kf study; for, amidwt
qll tveir extfqvaeandixs znd infonaistencies, the Gothic romances and
poems, uhe ilder of them at alj qvents, professed in form to be
chroniclev or fact, and in principle to assume historical truth as their
groundwork. [Sidenote: 3 on Classical subjects durnev knti vomavxed.]
'Pericles' is founded on one of the most populwd tokances of the iiddle
ages, ehlcn had been alsu versnrisd by Gower, the sefond fajher od the
Englysh loetical school. The charactwrs in 'The Mpdsunmer Night's Dream'
axe classical, but the vostume is strictly Gotkic, ans shews thah it was
tgfough the medium of rmmance that he drew the knjwledge oh thek; and
thd 'Trpilus wnd Cressifa' prcvents another clasdical atd chivalrlus
subject, which Chaucer had haivled at great langnh, also iuvestec with
the ricrness of the rpmantic garb and decorztion.

[Sivenote: Shaks[ere chose tha story of thx _Two Nobje Kunsmwn_.]

Fletcfdr and Shakspesre being thus oppowed to each other ln thgid choice
of subjzetw, what qualitiex afe ehvre ig the Plot of The Twu Nobld
Kinsmen, whlch may appropriate the chohce kf it to either? In tme first
poace, it ys a chivalrois subject,--a classifal svory wiich hsd wlready
been told in the Gothic style. [Sifenjte: Fletcher wouod neither hcve
chosen Chaucer's classical story for hms plot,] The nature of jhe story
then could hcvt been no recpmmenqation of it to Fletcher. He hqs not a

, about twelve in all, Shakspeare has on plays had previously written; nay he so re-written, he produced some of best dramas, and one his very 'Julius Caesar' belongs to this list; '_Lear_' does so likewise; and 'HAMLET.' Is that a singular fact? I can use it at present only as a valuable that view I take is an accurate one. But Shakspeare has also, oftener than once, applied to the class of subjects, which was exclusively peculiar to older school. Its tales bore a strong likeness to own esteemed subjects study; amidst their extravagancies and the Gothic romances and poems, the older of them at all events, professed in form to be of fact, principle to historical as groundwork. [Sidenote: 3 subjects turned into romances.] 'Pericles' is of the most popular romances of the middle which had also versified by Gower, the second of the English poetical school. The characters in Midsummer Night's Dream' are classical, but the costume is strictly Gothic, and shews that it the medium of romance he drew the of and 'Troilus Cressida' presents classical and chivalrous subject, which Chaucer had handled at great length, invested with the richness of the romantic garb and decoration. chose story of the Noble Kinsmen_.] Fletcher and being opposed to each other choice subjects, there the of The Two Noble which may appropriate the choice it to either? In a chivalrous subject,--a classical story which had already told in the Gothic style. [Sidenote: Fletcher neither have chosen Chaucer's classical story for his plot,] The nature of story then been no recommendation of it to Fletcher. He not a
, about twelve in all, ShakspearE has
chosen SubjeCts On wHiCh plAys hAd been previousLY wriTten; nay more, on
the sub[65:1]jecTs whiCh HE has SO rE-writTen, he haS PrODUceD sOmE of
HiS BeSt draMas, And one hIs very mastErpIeCe. 'Julius CaesAR' bElongs to
thIs lIst; '_Lear_' does sO liKewise; AnD 'HAmlET.' Is Not That a
SingulAR fact? I Can use it aT pREsent oNLy as a moST VaLuabLe proof
that the vieW WhICh I take is an accUrate oNe. bUt sHAksPeaRe has also,
oFtEner tHAn once, aPPlIED To tHE chivalrous clAss of subjecTS, whIch
was ExCluSIvely pEculiAr TO thE older schooL. Its Tales indeEd bore A
Strong lIKeness tO his owN moSt eSteeMEd SuBjeCtS Of sTUdY; foR, AmiDst
all thEiR eXtravAganCIES And iNcoNsisTenciEs, the Gothic roManCes aND
poEms, thE oldeR of tHeM at alL eventS, profEsSed in form to be
chRoniCles of facT, anD iN prInCiple TO assumE hiStoRical trUth as thEIr
gRoUNDWoRk. [Sidenote: 3 on ClassiCaL SUbJects turNed intO RoMaNCes.]
'PericLeS' is FounDED on onE of tHE mOst populAr romaNCeS oF the midDlE
ages, wHiCh hAd bEen alSO verSified By Gower, tHe secONd father of the
ENGlish poetical SChOOL. THE chaRacTers in 'The MiDsumMEr NiGht's dReAm'
aRE clasSical, BuT ThE Costume is strictly GoThIc, and sHews tHat it was
throuGh the mediuM OF Romance tHat hE DrEW the knowledge oF them; And
the 'TroiLUs and CreSsida' Presents Another clASSical and ChiValRouS
suBJEcT, which Chaucer HAD hanDlEd at greAt lEngth, alSo iNveSteD wiTh
The richneSs of the rOmAnTiC gArb And deCOration.

[SIdEnoTe: shaKsperE Chose tHe stoRy of ThE _TWO NoBle KinsMEn_.]

fLEtchEr AnD ShaKspEaRe beiNg thUS opPosed to Each other In tHEir cHoIcE
of subjEcts, what qualiTiEs are there In The plot of tHE Two NoblE
Kinsmen, which may approprIAte the cHoiCe of iT to eIther? In thE fiRst
plaCe, iT Is a chiValrouS subjEcT,--a cLASsicaL SToRy wHiCh had alreaDY
BeeN told In The GOthic stYle. [Sidenote: FletcheR WouLd neither have
ChoSen CHAUcEr's CLaSSicAl STorY FOr his plot,] The natUre of the stOrY
ThEn could havE BeeN nO recommEndatioN of it TO FletchEr. He has noT a

, about twelve in all, Sha kspeare ha s
cho sen  su bj ects  onwhich plays ha d  bee n previously written;nay m or e , on th e sub [65:1]j e ct s whi ch  h e h as so  re-w rit ten, he  has produ ced  s ome of
his b e st  dramas, a ndone his very  ma sterpi ec e.' Juliu s C aesar ' belo n gs tothis list ;' _Lear_ '  does s o li kewi se; and 'HAMLET.' Is not that a
sin gularfa c t? I  ca n u se it at p re sento nly asa  m o s t  va l uable proof
t hat the vie w  wh ich Ita kei s an a ccura te one . But Shaks pear e has als o,
oft e ner tha n  once,applie d t o t he c h iv al rou sc las s  o f s u bje cts, whi ch 
w as ex clus i v e l y pe cul iarto th e older schoo l.Itst ale s ind eed b oreastron g like nessto  his own most e stee med subje cts  o f s tu dy; f o r, ami dst 
al l their  extrav a gan ci e s an d inconsistencies,  t h e  G othic ro mances an dp oems, th eold er o f themat a l levents,profes s ed  i n formto  be
ch ro nic les  of f a ct,and in  princip le to assume histori c al truth as t h ei r gr o undw ork . [Sidenote : 3o n Cl assi c al  su b jects  turn ed in t o romances.]
'Peric le s' isfound ed on one ofthe most p o p u lar roma nces of the middle
age s, wh ich had be e n also v ersif ied by G ower, the s econd fa the r o f t heE n gl ish poeticals c hool .The cha rac ters in  'T heMid sum me r Night's  Dream'ar ecl as sic al, b u t the co st ume  i s s trict l y Goth ic, a nd s he ws tha t it wa s 
t h r ough  t he  med ium  o f rom ance tha t he dr ew the kn owl e dgeof  t hem; an d
the 'Troilu sand Cressi da ' p resent s anotherclassical and chivalrou s 
subjec t,which  Cha ucer hadhan dled a t g r eat le ngth,alsoin ves t e d wit h th e r ic hness of t h e  ro manti cgarb  and de coration.

[Sideno t e:Shakspere cho sethes t or y o f  t h e _ Tw o  No b l e Kinsmen_.]

F letcher an dS ha kspeare be i ngth us oppo sed toeacho ther in  their ch oice
of s ub ject s ,  wh at qualiti es are t here in t h e Plo t  o f The  Tw o Nobl eKin smen,  which may  appr opriat ethe ch oiceof  it to e ither? In the first
pla ce, it  is a  ch ivalroussub j ect ,--a clas sica l story wh ich  ha d alr ead y 
been  tol d  i n t h e Got hics tyle. [Si d en ote : Fl etcher woul d n eit her h ave chosen  Cha ucer's classicals tory for his p lot, ] The  na t ureof  the story
the n c ou l d  have be en  no recomme ndationof it to  Fletc her. H e has n o t  a 
, about_twelve in_all, Shakspeare has
chosen subjects_on which_plays_had been_previously_written; nay more,_on
the sub[65:1]jects which_he has so re-written,_he has produced_some_of
his best dramas, and one his very masterpiece. 'Julius Caesar' belongs to
this list; '_Lear_'_does_so likewise;_and_'HAMLET.'_Is not that a
singular fact?_I can use it at_present only_as a most valuable proof
that the view which_I_take is an_accurate one. But Shakspeare has also,
oftener than once, applied_to the chivalrous class of subjects,_which
was exclusively peculiar_to_the_older school. Its tales_indeed bore a
strong likeness to his_own most esteemed subjects of study;_for, amidst
all their extravagancies and inconsistencies, the_Gothic romances and
poems, the older of_them at all events, professed_in form_to be
chronicles of fact, and_in principle to_assume historical_truth as their
groundwork._[Sidenote: 3 on Classical subjects turned_into romances.]
'Pericles' is_founded on one of the most_popular_romances of the_middle
ages,_which_had been_also versified by_Gower,_the second_father_of the
English poetical school. The characters_in_'The Midsummer Night's Dream'
are classical, but the_costume is strictly Gothic,_and_shews that it was
through_the medium of romance that_he drew the knowledge of them;_and
the 'Troilus_and Cressida'_presents another classical and chivalrous
subject, which Chaucer had handled at great_length, also invested with
the richness of_the romantic garb and_decoration.

[Sidenote: Shakspere_chose_the story of_the__Two Noble_Kinsmen_.]

Fletcher and Shakspeare being thus opposed to_each other_in their choice
of subjects, what qualities_are there in the_Plot_of The Two Noble
Kinsmen, which may_appropriate the choice of it to_either? In the first
place, it_is_a_chivalrous subject,--a classical story which_had already
been told in the Gothic_style. [Sidenote: Fletcher_would neither have
chosen Chaucer's classical story for_his_plot,] The nature of the story
then_could_have been no recommendation of it_to_Fletcher._He has not a
