cented syllables, p. 173; example of English Alexan- drines in the Poly-Olbion, p. 176; the last line of every stanza in the Fairy Queen is like this; and so in the Castle of Indolence, the Minstrel, Childe Harold, &c. Only the hemistich, though much studied, is not essential as in French and German, p. 177; specimen of French Alexandrines, ib. p. 174, 175; of German, p. 177-180.
Alfonso, patron and persecutor of Tasso, note 95, p. 183. Allegory, or personification, if short, agreeable in poetry, p. 25, 26.
Amadigi, Amadis of Bernardo Tasso, a romantic nar-
rative poem, founded on the fabulous history of Charle- magne and his Paladins, p. 5, 6.
American use of the word "guess," note 48, p. 132. * Andrès Dell' Origine d'ogni Litteratura, p. 27, note 15,
p. 111; his ridiculous yet provoking analysis of the Rape of the Lock, and Eloisa to Abelard, p. 27, note 15, p. 111; he imputes prolixity to Pope, p. 27; allows him great fertility of imagination, ib.
Angelica, her character well supported in the Orlando of Boiardo, p. 12.
Anglomane, note 83, p. 152.
Anglomania, said to be common in France, p. 22.
Anne (Queen), language less delicate in her time than now, notes, Sonnet, p. 119.
Apollo and the Muses continue, and probably will con-
tinue to be pretended to be invoked by modern and Christian poets, p. 24, 25.
Arcadi, Academia degli, vide Academia.
Archibald, Arcibaldo, surnamed the Great, and Bell- the-Cat, immediate ancestor of the true Douglas's,
st. lviii. note 79, p. 148; quotation concerning him from Sir W. Scott, p. 150.
Argot, French, vide Slang, note, p. 154.
Ariosto, p. xviii.; futility of unprofitable parallels or comparisons between Ariosto and Tasso, note 8, p. 106; their comparative merit a vexata quæstio for more than 200 years, p. 14; character of the Orlando of Ariosto, p. 15; of the Gerusalemme, p. 15, 16; Ariosto's beauties unattainable, p. 15; the Gerusa- lemme a perfect work, p. 16; Metastasio's opinion re- ferred to, p. 15; Lord Byron's opinion of each without invidious comparison, note 8, p. 106; Cardinal Hip- polito d'Este's foolish and ungenerous question to Ariosto, note 7, p. 106; his, the opinion of many tasteless people, ib.; quotation from, note 40, p. 129. Most of Ariosto's comedies are in versi sdruccioli sciolti, note 95, p. 163; these monotonous, and he has not been followed in the practice, ib.; his satires are in terza rima, p. 33, 34; his account of Orlando's madness, note 72, p. 135.
Aristophanes, expression adopted from his play of the Knights, stanza lxiv. note 82, p. 151.
Artemisia's wifely love for her husband, st. xlviii. note 73, p. 146; dies of her grief for him, ib.
Arthur, King, p. 5; Catch concerning Prince Arthur, note 48, p. 132, 133.
Astolphus, Astolfo, described as a modern dandy, finical in his dress and manners, st. xxxvi.; traditionally the Prince of England in the Italian romance poetry, note 63, p. 140; his sudden madness, st. xxxvi.—lv.; and cure by the potent nut of Brazil, st. lv. lvi.
Astute, Scotch said to be, p. 18, 19, st. xlv.; word familiar in Westminster Hall, note 72, p. 146; the French have Astuce, ib., and Madame de Staël uses astucieuse- ment, ib.*; the Italians, Astuto and Astuzia, ib. Author, The, the circumstances which led him to attempt this translation, p. 29. 39-43.
Authority of precedents in poetry, note 89, p. 155. * .
Babylonish Slang or dialect, st. lxxxi.; vide Slang. Baccola Castle, in Spain, st. lxvii.
Bajazet, Forteguerri begins an epic poem concerning, p. 37; but fails, being carried away by his turn for ridicule, ib.
Bailly, conversation at his house (Hôtel de ville) with Delille in 1791, note 13, p. 110.
Bayle, his praise of the learning and extraordinary mo- desty of Scipio Carteromachus, p. 29, 30.
Beattie, versification of his Minstrel, note 54,
his admiration of a passage in Dryden, note 90, p. 156.
Beau, gloves of, st. lxxii.
Beaumont and Fletcher cited for dactylic endings of their lines, note 95, p. 162.
Bell-the-Cat, epithet of Archibald Douglas, Earl of Angus, note 79, p. 149.
Bernardo Tasso, wrote his Amadigi in ottava rima in preference to versi sciolti, p. 6.
Bernesco, burlesque style so called, p. 17.
Berni, his Orlando Innamorato in ottava rima; his Ca- pitoli in terzetti, p. 17.
Bibliomane, the Muse's father one, st. xi.
Biron, citation from Shakespeare for the character of a merry but well bred man, p. 35; note 21, p. 116. Blue-stocking, st. v. ; expression become classical, note 32, p. 123, 124.
Bonhommie, sly bonhommie in Berni's and Lippi's works, p. 17; called the Bernesco style or manner, ib. Boiardo, author of Orlando Innamorato, p. 5, 6; sove- reign of Scandiano, p. 12; governor of Reggio, ib.; his simple naïveté, p. 13; Sismondi thinks him much be- yond his contemporary Pulci, p. 12; that his female characters are more consonant to chivalrous manners, ib.; that Angelica in his poem is already invested with all her charms and influence, ib.; his style unpo- lished, and improved by Berni, p. 13; Berni follows him close in the narrative part and personages, ib.; Ariosto continues his story, ib.; he did not live to give his work the ultimate polish, p. 12.
Boileau, p. xviii.; quotations from, note 14, p. 111; note 54, p. 137; note 92, p. 157: vide Lutrin. Bracciolini, author of the Scherno degli Dei, written " concorrenza" with the Secchia Rapita, p. 21; much
inferior to it, ib.; his ground work mere fiction, and clumsy absurd fiction, ib. ; cited note 33, p. 124. Brazil, nut of, st. xlvi.; cure for unrequited love, ib.;
receipt, sec. artem, for applying it, st. xlvii.; cured Stella's mother, st. xlviii. et seq.; a sea-nymph, st. li.; an old seaman, st. lii.; Helen, st. liii.; Agamemnon, ib.; Telemachus, ib.
Brand, falchion, poeticè for sword, st. lxxxii.
Brogues, a sort of cheap shoes, by the gods called pumps, st. xi.; note 38, p. 127.
Buck, the Baron of the Castle of Baccola changed to a,
by Nera, the sorceress, st. lxx.; pursued by his bride Brunetta turned into a doe, st. lxxi.; how they re- become lad and lass, maid and man, bride and bride- groom, st. xci. xcii. xciii.; their curiosity to learn the "what" and "how," ib.; their gratitude to their deliverer, Rinaldo, st. xciv.
Bulasso, sceptered chief of Negroland, st. xviii.; a giant measureless and strong, ib.; his club, and boasting confidence in it, ib.
Burla, jest, mockery, ridicule; hence burlare, burlesco, p.7; burlesque poetry distinguished from mock-heroic,
Büsching's Erdbeschreibung mis-quoted, note 80, p. 151. Butler, vide Hudibras.
Byron, Lord, his Prophecy of Dante, note 8, p. 106; his
beautiful and affecting verses on the respective hi- stories and genius of Ariosto and Tasso, ib.; his use of the word "dandy," note 32, p. 124; Alexandrines
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