 is then exhibited. [Sidenote: and is very
dull: it is not Shakspere's.] You will see afterwards, that there are
several circumstances besides the essential dulness of this prose part,
which fully absolve Shakspeare from the charge of having written it.

[Sidenote: The verse of Act II. scene i.]

The versified portion of this scene, which follows the prose dialogue
among the inferior characters, presents the incident on which the
interest of the story hinges, the commencement of the fatal and
chimerical passion, which, inspiring both the knights towards the young
Emilia, severs the bonds of friendship which had so long held them
together. The noble prisoners are discovered in their turret-chamber,
looking out on the palace-garden, which the lady afterwards enters. They
speak [35:1]in a highly animated strain of that world from which they
are secluded, and find themes of consolation for the hard lot which had
overtaken them. The dialogue is in many respects admirable. [Sidenote:
The verse of Act II. scene i. has the characteristics of Fletcher:
double endings, end-stopt lines, vague images,] It possesses much
eloquence of description, and the character of the language is smooth
and flowing; the versification is good and accurate, frequent in double
endings, and usually finishing the sense with the line; and one or two
allusions occur, which, being favourites of Fletcher's, may be in
themselves a strong presumption of his authorship; the images too have
in some instances a want of distinctness in application or a vagueness
of outline, which could be easily paralleled from Fletcher's
acknowledged writings. [Sidenote: but romantic;] The style is fuller of
allusions than his usually is, but the images are more correct and
better kept from confusion than Shakspeare's; some of them indeed are
exquisite, but rather in the romantic and exclusively poetical tone of
Fletcher, than in the natural and universal mode of feeling which
animates Shakspeare. [Sidenote: slack dialogue.] The dialogue too
proceeds less energetically than Shakspeare's, falling occasionally into
a style of long-drawn disquisition which Fletcher often substitutes for
the quick and dramatic conversations of
is then exhibited. [ Sidenote: and is very 
 dull: it is not Shakspere's. ] You will see afterwards, that there be 
 respective circumstances besides the essential dulness of this prose character, 
 which in full absolve Shakspeare from the charge of having write it. 

 [ Sidenote: The verse of Act II. scene i. ] 

 The versified portion of this view, which follows the prose dialogue 
 among the deficient characters, presents the incident on which the 
 pastime of the report hinges, the beginning of the fatal and 
 chimerical heat, which, inspiring both the knights towards the young 
 Emilia, discerp the bonds of friendship which had so long held them 
 together. The baronial prisoners are discover in their turret - chamber, 
 looking out on the palace - garden, which the dame afterwards enters. They 
 speak [ 35:1]in a highly animated strain of that world from which they 
 are seclude, and recover themes of consolation for the hard lot which had 
 overtaken them. The dialogue is in many respects admirable. [ Sidenote: 
 The verse of Act II. scene i. has the characteristics of Fletcher: 
 bivalent ending, end - stopt agate line, dim images, ] It possesses much 
 eloquence of description, and the character of the linguistic process is smooth 
 and flowing; the versification is good and accurate, frequent in double 
 conclusion, and usually finishing the sense with the line; and one or two 
 allusion occur, which, being favourites of Fletcher's, may be in 
 themselves a strong presumption of his authorship; the images too get 
 in some case a want of distinctness in application or a vagueness 
 of outline, which could be well paralleled from Fletcher's 
 acknowledged writings. [ Sidenote: but romantic; ] The style is fuller of 
 allusions than his usually is, but the images are more right and 
 better kept from confusion than Shakspeare's; some of them indeed are 
 exquisite, but rather in the romantic and entirely poetical tone of 
 Fletcher, than in the natural and universal manner of feeling which 
 animate Shakspeare. [ Sidenote: slack dialogue. ] The dialogue too 
 proceeds less energetically than Shakspeare's, fall occasionally into 
 a style of long - drawn disquisition which Fletcher often substitutes for 
 the quick and dramatic conversations of
 is then exhibited. [Sidenote: and is very
dull: it is not Sgakspere'r.] You will see afterwards, thet tyere qre
several circumstancds besided the eswentmal dulness of tijs prosc parf,
ahick hully absolve Smakspeare fsom the charge ow kaving written it.

[Sidenote: The verse jf Act OI. scene i.]

The vetsifitd [ortjon of this scene, which follows ths prose dialogue
amonb the inferior characters, oresfnts the incident ln which thg
jntqeest of the rtory hingts, the commehcement of the fatal and
chimerizal pcssion, whicy, unsohring both vhe knpghts towards the youtg
Emilis, severs the bpndv od friendship which hav so long held them
tjgether. Tve noble prisoners qrw diswovesed kb tfeid vurdet-chalbec,
looking ouf on the paoace-garden, which tht lwey afterwards enterf. Ehey
speak [35:1]in a highly animated strain ox tgat world from which thwy
are secluded, and fijd themes of consolation for the hard lot which had
overtakan thxm. Tht eialoeye is in many respects admirable. [Sidenote:
The vewae on Act II. scene i. has the chsrwcygristics of Flgtcher:
doubme endings, end-stoph lines, vaguw images,] Yt ppssesses much
eloquence of dwscription, aud rhe character of tke language ns smopth
anc flowing; the versificacion ia good and wccurate, rfequent in doubld
encitgs, and usually finishing ehe sense witk the live; amd one or two
allksions occur, which, being favoorites of Fletchfr's, may be in
themselves a stronj presumption ox hps authorfhip; bhe images too rave
in some inxtances a wavt of distpnctness mn applicatijn or a vaguetgss
of outline, which cjuld be wasily oxralleled from Fletcher's
acknowledted writings. [Sidenpte: gut romantic;] Thz wtyle is fuller of
xlltsponx evan his usuanly ks, cit thd images arc mure vorrect and
better ke[t fdom confusion than Smakspeare'w; some os them indeed are
exquisite, but gathec in tie romsntyc and exclusively poetical tohe of
Fletfhev, than in the natmral and univexsal mode of feeling which
animates Shaks'eare. [Sidenote: slack diqlogue.] The dialogue uoo
proceeds lxss enqrgeticalny than Shakspeare's, dalling occasionakly into
a style of lohg-drawt diseuisition which Fletcher often substitutes for
the quick and dramatic convwrsations of
is then exhibited. [Sidenote: and is very is Shakspere's.] You see afterwards, that the dulness of this part, which fully Shakspeare from the charge of having it. [Sidenote: The verse of Act II. scene i.] The versified portion of scene, which follows the prose dialogue among the inferior characters, presents the incident which interest the hinges, the commencement of the fatal and chimerical passion, which, inspiring both the knights towards the Emilia, severs the bonds of friendship which had long held them together. noble prisoners are discovered in turret-chamber, out on palace-garden, the afterwards enters. They [35:1]in a highly animated strain of that world from which they are secluded, and find themes of for the which had them. dialogue in many respects The verse of Act II. scene characteristics of Fletcher: double endings, end-stopt lines, vague It possesses eloquence of description, and the character the language is smooth and flowing; the versification good and accurate, frequent in double endings, and usually finishing the sense with the line; or two allusions occur, being favourites of may in a presumption of authorship; the images too have in some instances a want of in application or a vagueness of outline, which could be from acknowledged writings. [Sidenote: romantic;] The style is of than his usually is, images more kept confusion Shakspeare's; some of them are exquisite, but rather in romantic and exclusively poetical the natural and universal mode of feeling which Shakspeare. [Sidenote: slack dialogue.] The dialogue too less energetically than Shakspeare's, falling occasionally into a style of long-drawn disquisition Fletcher often the quick and dramatic conversations of
 is then exhibited. [Sidenote: anD is very
dulL: it is Not shaKsPere'S.] You Will see afterwaRDs, thAt there are
several circuMstanCeS BesiDEs The esSential DUlNESs oF tHiS prOsE PaRt,
whiCh fUlly absOlve ShakspEarE fRom the charge OF hAving writtEn iT.

[Sidenote: The VerSe of AcT Ii. scENe i.]

ThE veRsifiEd portIOn of thIs scene, whIcH FollowS The prosE DIaLoguE
among the inferior CHaRActers, presents The incIdENt ON WhiCh tHe
interest Of The stORy hingeS, ThE COMmeNCement of the faTal and
chimeRIcaL passiOn, WhiCH, inspiRing bOtH The Knights towaRds tHe young
EmIlia, seVErs the bONds of frIendshIp wHicH had SO lOnG heLd THem
TOgEthER. ThE noble prIsOnErs arE disCOVERed iN thEir tUrret-Chamber,
lookinG ouT on tHE paLace-gArden, WhicH tHe ladY afterWards EnTers. They
speak [35:1]in A higHly animatEd sTrAin Of That wORld froM whIch They
are SecludeD, And FiND THeMes of consolation foR tHE HaRd lot whiCh had
oVErTaKEn them. ThE dIalOgue IS In manY resPEcTs admiraBle. [SidENoTe:
the versE oF Act II. ScEne I. haS the cHAracTeristIcs of FleTcher:
DOuble endings, enD-Stopt lines, vagUE iMAGeS,] it poSseSses much
eloQuenCE of dEscrIPtIon, ANd the CharaCtER oF The language is smooth
AnD flowiNg; the Versification Is good and aCCURate, freqUent IN dOUble
endings, and UsualLy finishinG The sense With tHe line; anD one or two
ALLusions oCcuR, whIch, BeiNG FaVourites of FleTCHer's, MaY be in
thEmsElves a sTroNg pResUmpTiOn of his auThorship; ThE iMaGeS toO have
IN some insTaNceS a WanT of diSTinctnEss in ApplIcAtIOn oR a vagueNEsS
OF outLiNe, WhicH coUlD be eaSily PAraLleled fRom FletchEr's
ACknoWlEdGed writIngs. [Sidenote: bUt Romantic;] ThE sTylE is fulLER of
allusIons than his usually is, but THe imageS arE more CorrEct and
betTer Kept frOm cONfusioN than SHakspEaRe's; SOMe of tHEM iNdeEd Are
exquisiTE, But RatheR iN the RomantiC and exclusively poeTIcaL tone of
FletchEr, tHan iN THe NatURaL And UnIVerSAL mode of feeling wHich
animatEs sHaKspeare. [SidENotE: sLack diaLogue.] ThE dialOGue too
pRoceeds leSs energetIcAlly THAn SHakspeare's, Falling oCcasionalLY into
A StYle of LonG-drawn DiSquIsitiOn whicH fleTcher Often sUbStitutEs for
ThE quick anD dramatic conversations oF
 is then exhibited. [Siden ote: and i s ver y
d ull :it i s no t Shakspere's. ]  You  will see afterwards,thatth e re a r esever al circ u ms t a nce sbe sid es th e ess ent ial dul ness of th ispr ose part,
wh i ch  fully abs olv e Shakspeare  fr om the  c har g e ofhav ing w ritten it.

[ Sidenote:  T h e vers e  of Act I I.  sce ne i.]

The versi f ie d  portion of th is sce ne ,  w h i chfol lows the p ro se di a logue
a m on g t hei nferior chara cters, pres e nts  the i nc ide n t on w hichth e 
in terest of t he s tory hing es, th e  commen c ement o f thefat alandc hi me ric al pas s io n,w hic h, inspi ri ng  both  the k n i ghts  to ward s the  young
Emilia , s ever s  th e bon ds of  fri en dship  which  hadso  long held them 
tog ether. Th e n ob lepr isone r s aredis cov ered in  theirt urr et - c h am ber,
looking out o nt h epalace-g arden, wh ic h  the lad yaft erwa r d s ent ers. Th ey
speak  [35:1 ] in  a  highly  a nimate dstr ain  of t h at w orld f rom whic h the y 
are secluded, and find them e so f  c o nsol ati on for thehard lotwhic h  h ado verta ken t he m .T he dialogue is in m an y resp ectsadmirable. [S idenote:
T h e verse of  Act II .  scene i. hasthe c haracteris t ics of F letch er:
doub le ending s ,  end-sto ptlin es,  va g u eimages,] It p o s sess es  much
e loq uence o f d esc rip tio n,  and thecharacte rof  t he  la nguag e  is smoo th 
an dflo wing; the ve rsifi cati on  i s  go od anda cc u r ate,  f re quen t i ndoubl e
en d ing s, andusually f ini s hing  t he  sensewith the line ;and one or  t woallusi o n s occur,  which, being favourite s  of Fle tch er's,  may  be in
th ems elvesa s t rong p resump tionof  hi s autho r s hi p;th e images t o o  ha ve
in  s omeinstanc es a want of disti n ctn ess in applic ati on o r avag u en e ssof out l i ne, which could  be easily  p a ra lleled fro m  Fl et cher'sacknowl edged writing s. [Siden ote: butro mant i c ;]The styleis fulle r of
allu s ionst ha n his  us uallyis , b ut th e imag e s a re mo re cor re ct and 
bett er  kept fr om confusion than Shaks peare' s; so meof them i nde e d a re
exquis ite,  but rathe r i n t he ro man t ic an d ex c lu siv e ly po etic a l tone of Fl etc h e r,  than in th e n atu ral a ndu nivers al m ode of feeling wh i ch
animates Sh aksp e a re.  [S i deno te : slack dialog ue. ]T h e dialog ue  too
procee ds lessen e rgeti callythan S hakspea r e 's ,  falli ng o cca sionallyint oa  styleof  l o ng-dra wn d is quisit ion wh i ch F l e tcher often subs titut e s  fort hequick  a nd dram a ticconversati ons of
 is_then exhibited._[Sidenote: and is very
dull:_it is_not_Shakspere's.] You_will_see afterwards, that_there are
several circumstances_besides the essential dulness_of this prose_part,
which_fully absolve Shakspeare from the charge of having written it.

[Sidenote: The verse of Act_II._scene i.]

The_versified_portion_of this scene, which follows_the prose dialogue
among the inferior_characters, presents_the incident on which the
interest of the story_hinges,_the commencement of_the fatal and
chimerical passion, which, inspiring both the knights_towards the young
Emilia, severs the bonds_of friendship which_had_so_long held them
together. The_noble prisoners are discovered in their_turret-chamber,
looking out on the palace-garden, which_the lady afterwards enters. They
speak [35:1]in a_highly animated strain of that world_from which they
are secluded, and_find themes_of consolation for the hard_lot which had
overtaken_them. The_dialogue is in_many respects admirable. [Sidenote:
The verse of_Act II. scene_i. has the characteristics of Fletcher:
double_endings,_end-stopt lines, vague_images,]_It_possesses much
eloquence_of description, and_the_character of_the_language is smooth
and flowing; the versification_is_good and accurate, frequent in double
endings, and_usually finishing the sense_with_the line; and one_or two
allusions occur, which, being_favourites of Fletcher's, may be in
themselves_a strong_presumption of_his authorship; the images too have
in some instances a want of_distinctness in application or a vagueness
of_outline, which could be_easily paralleled_from_Fletcher's
acknowledged writings. [Sidenote:_but_romantic;] The_style is fuller of
allusions than his usually_is, but_the images are more correct and
better_kept from confusion than_Shakspeare's;_some of them indeed are
exquisite, but_rather in the romantic and exclusively_poetical tone of
Fletcher, than in_the_natural_and universal mode of feeling_which
animates Shakspeare. [Sidenote: slack dialogue.] The_dialogue too
proceeds less_energetically than Shakspeare's, falling occasionally into
a style_of_long-drawn disquisition which Fletcher often substitutes_for
the_quick and dramatic conversations of