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ABBE du Bos, his censure of Ariosto's Orlando Fu-
rioso, 20.

Academicians, della Crusca, prefer Ariosto to Tasso, 4
Adonis, his gardens, Spenser founds his fiction concern-
ing them on ancient mythology, 123.

Agave, her story, 140.

Agdistes, a Genius, 114.

Amber-grease, a seasoning in cookery, 168.

Ambiguous expression, instances of, in Spenser, 352. In
Milton, 96.

Anachronism, instances of, in Spenser, 334.

Ancients, imitate every thing, 310.

Antoninus Liberalis, a valuable compiler, 130.

Apollonius, Rhodius, illustrated, 145. Copied by Mil-
ton, 144, 152.

Archimago, instance of, his hypocrisy, copied from
Ariosto, 272. Of his illusion, 273.

Ariosto, imitates Boyardo, 2. Account of the plan of his poem, 17. His genius comic, 306. Defended,

308.

Ardenne, water of, Ariosto's mention of it alluded to by Spenser, 288.

Arte of English poesie, author of, condemns Spenser's obsolete stile in his Pastorals, 163. Commends his Pastorals, 170. Ilis account of singing to the harp in Queen Elizabeth's time, 72. Censures Skelton, 73.

Arthur, Prince, cannot properly be called the hero of the Faerie Queene, 8.

Arthur, King, his round table, 62, 90, 255. Popularity of his story, 58.

Astræus, a sea-god, account of him, 141.
Avarice, Ariosto's, why so represented, 301.

B.

Beaumont and Fletcher, illustrated, 58.

Bellona, Spenser misrepresents her birth, 154

Beni, compares Ariosto with Homer, 2.

Bevis, Sir, of Southampton, imitated by Spenser, 69.
Bite, 230.

Blandamour, a name, drawn from Chaucer, or from a

romance so called, 259.

Blatant Beast, the hint of it taken from Morte Arthur, a romance, 32. Partly occasioned by Ariosto's description of Jealousy and Avarice, 301.

Britaine's Ida, not written by Spenser, 170. Criticism and conjectures concerning it, 171.

Bridge, remarkable one, copied from Ariosto, or from Morte Arthur, 290.

Brigadore, name of a horse, drawn from Ariosto, 291. Britomart, how properly stiled the patroness of chastity,

117. Her history, 118. Her discovery copied from Ariosto, 283. She is a copy of Ariosto's Marsifa, and Bradamante, 287.

C.

Cervantes, illustrated, 34, 90, 254, 277, 292. Charlemagne, supposed to be the archetype of King Arthur, 255. Celebrated by the Islandic bards, 278. His sword, 293.

Chaucer, his style copied by Spenser, 172, 268. And many of his sentiments, 188.

him, 174. Explained, 63.

Encomium upon

Cerberus, supposed to be the proper reading in Milton's second verse of l'Allegro, and why, 102.

Checklaton, 265.

Chiron, beautiful description of his astonishment, after hearing the music of Orpheus, 152.

Chivalry, practised in Queen Elizabeth's age, 27. Books of, ridiculed by Chaucer, 199.

Croniclers, Islandic, specimen of their stories, 278. Cocytus, Spenser misrepresents mythology concerning it, 112.

Construction, confused instances of, in Spenser, 324.
Conteck, 237.

Courtesie, its importance, in the character of a knight, 332.

Crudor, his insolence and cruelty, copied from Morte Arthur, 35.

Cupid and Psyche, Spenser misrepresents Apuleius's ac

count of them, 124.

Cupid, a representation of him copied from Chaucer,

220. A false one, 221.

How represented by Ca

tullus and Sappho, 221.

A description of him co❤

pied from Ariosto, or from N. Archias, 303.

D.

Danger, personified from Chaucer, 258.

Darraine, 226.

Douzepere, 252.

Dragon-encounters, copied by Spenser from romance, 75, Drayton, a romantic story borrowed by him from Geoffrey of Monmouth, 37. Where buried, 37.

Dryden, censured for affirming that Prince Arthur appears in every part of the Faerie Queene, 10. Duessa, her discovery, copied from Ariosto, 280.

E.

Edward, Black Prince, MS. metrical history of, 198. E. K. the commentator on Spenser's Æglogues, his reason why Spenser chose to write in an obsolete style, 174 His real name, 38.

Elfe, 77.

Elfes and Goblins, whence derived, 79.
Elficleos, King Henry VII. 80.

Ellipsis, instances of, in Spenser, 5. In Milton, 17.
Enchanted cup, story of, from Morte Arthur, 55.

English Language, its corruptions about Queen Elizabeth's age, 177. Spenser's disapprobation of these corruptions, proved from his own words, 179. Notwithstanding he himself contributed to add to these corruptions, and why, 182.

Endlong, 252.

Envy, Spenser's indelicacy in describing her, 96. And excellence, 97.

F.

Faeries, sometimes used for any ideal people, 84, Whence the fiction of them was derived, 85. Not

always diminutive beings, 86.

Faerie Nation, Spenser's original and genealogy of it explained, 77,

Faerie Queene, a popular tradition, 81. Supposed to exist in King Arthur's time, 81. Spenser's poem so called, occasioned many imitations, on its publica tion, in which fairies were actors, 83.

Ferraugh, Sir, a name drawn from Ariosto, 287.
File, 224.

Fleece, golden, expedition of, a favourite story in ro mance, 241. Its romantic turn, 244.

Florimel, story of her girdle whence taken, 76.
Furies, the ancients afraid to name them, 94.

G.

Galy Half-pence, explained, 246.

Geneura, tale of, in Ariosto, copied by Spenser, 281.

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