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Genius; a particular one, drawn by Spenser from N⚫ Comes, 114. And a circumstance concerning him

from Horace, 115. Another drawn from the picture of Cebes, 115.

Giambeux, 265.

Glitterand, 229.

Gloriana, the attainment of her the end of the Faerie Queene, 7. Prince Arthur improperly conducted to this end, 8, 9.

Glode, 260. Beautifully applied by Gower, 261.
Goodfellow, Robin, 167.

Graces, Milton improperly represents their birth, 143.
Grayle, Holy, a tradition concerning it, borrowed from
Morte Arthur, 49.

Guile, net of, borrowed from Ariosto, 296.

H.

Hair, long, description of, copied from Chaucer, 249. Hall, Bishop, account of his satires, 186.

Hardyknute, a Scottish poem, commended, 215. Proved to be modern, 215.

Harrington, his versification censured in the translation of Orlando, 169.

Harrow, 235,

Hecate, Spenser misrepretents her mythology, 154.
Hesdin, Castle of, its tapestry, 243.

Hero, Unity of, necessary in the heroic poem, 8. Not preserved in the Faerie Queene, 8. His business in the heroic poem, 10.

History, ancient, often falsified by Spenser, and why, 92.

Historical Regularity, Spenser varies from it, in the plan

of the Faerie Queene, 17,

Horn, a miraculous one, copied from Ariosto, 276. Horror, picture of him, copied by Milton from Spenser, 107.

Horses, their names in romance, 292.

Hughes, the editor of Spenser, censured, for commending the first book of the Faerie Queene, as a regular contrivance, 11. For reducing the text of Spenser to modern orthography, 167.

Hylas, a new solution concerning his fable, 128.

I.

Jane, 246.

Jealousy, Ariosto's, for what reason so represented, 301. Jew, character of a cruel and covetous one, represented on the stage with applause, before Shakespeare's Shylock, 182.

Imitations, hard to be ascertained, 51. Spenser's of himself, 53.

Inaccuracies, instances of, in Spenser, and why, 312. Inconsistency, instances of, in Spenser, 329. Indelicacy, instances of Spenser's, 96.

Ino, Spenser's confused account of her story, 139. Introduction, 'form of, copied from Chaucer, 239. Specimen of, in old poems, 248.

Jonson, Ben, his opinion of Spenser's language, censured, 184. His sentiments on old words commended, 185.

Italian language, deals largely in similar cadences, 158, Much affected in Queen Elizabeth's time, 176.

Italian books, many translated into English in Queen Elizabeth's time, 178.

Poets, censured, 3.

K.

Kenelworth, Castle of, its round table, 41.

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Lady of the Lake, the fiction of her, whence borrowed by Spenser, 40. Introduced to make part of Queen Elizabeth's entertainment at Kenelworth, 40. Alluded to by B. Jonson, 45.

Lane, John, account of him, 214,

Lubber-fiend, 166,

M.

Malbecco, his escape, copied from Ariosto, 285,
Maleger, his death, copied from Ariosto, 282.

Many, 266.

Marot, Clement, imitated by Spenser, 299.

Marston, John, his satires cominended, 82. Inferior to Hall's, 83. Specimen of them, 83.

Marte, 223.

Materasta, name of her castle, drawn from Morte Ar

thur, 57.

Merchant of Venice, drawn from an old ballad, 178.

Merlin, story concerning him, borrowed by Spenser from

Morte Arthur, a romance, 47. His interview with
Britomart copied from Ariosto, 285.

Milton, explained, corrected, illustrated, 52, 53, 105, 106, 107, 108, 143, 150, 165, 167, 211, 256, 257, 323, 335.

Mirror, Britomart's, borrowed from Chaucer, 205. Montesquieu, his character of the English poets, 22. Morte Arthur, an old romance, printed by Caxton, imitated by Spenser, 27. A fashionable book in Queen Elizabeth's time. 39. Alluded to by Ben Jonson,

50. And by Camden, 51.

Most and least, 262.

More and less, 262.

Much and lite, 263.

Murther, Milton's description of him, equalled by

Fletcher, 107.

Mythology, ancient, falsified by Spenser, and why, 92.

N.

Natalis Comes, Spenser copies the Deities present at the marriage of Thames and Medway, from him,

142.

Nature, description of her, copied from Chaucer, 220. Negatives, two for an affirmative, used by Chaucer, after the Saxon practice, 266.

Nereus, represented according to Mythology, by Spenser, 142.

Night, justly represented by Spenser, 101. Milton supposed to have taken a hint from Spenser's representation of her, 105.

November, &c. copied from Chaucer, 222.

0.

Oberon, King Henry VIII. 80.

Ollyphant, a name, borrowed from Chaucher, 245. Ophion, said to be of the Serpent race, by Apollonius, as well as by Milton, 144.

Ordeal, a word, applied from Chaucer, 261.

Orlando Furioso, its plan more irregular than that of the Faerie Queene, 17. Hint of its hero's madness, drawn from Morte Arthur, a Romance, 57.

Orpheus, author of the Argonautics, falsely so called, 138.

Orpheus, his song in Onomacritus and Apollonius, alluded to by Milton, 150. His song in Apollonius, often alluded to by Spenser, 145.

Orthography, often violated by Spenser, and other ancient poets, for the rhyme-sake, 165.

Orthrus, 141.

P.

Pastorals, fashionable in Spenser's age, and why, 297.
Pastorell, her distress, copied from Ariosto, 296.
Peers, Charlemagne's twelve, account of them, 253. Al-
luded to by Milton, 256.

Plan, of the Faerie Queene, what, 6. Its faults, 8.

Plato, copied by Spenser, 121.

Pope, his translation of Homer injurious to true taste,

271. Imitates Jonson, 324.

Poetry, use and nature of it in the carly ages, 152.
Prick, to, 266.

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