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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, 308. 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. His account of singing to the harp in Queen Elizabeth's time, 72. Censures Skel

ton, 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.


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 bint of it taken from Morte Arthur,

a romance, 32. Partly occasioned by Ariosto's de

scription 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.


Cervantes, illustrated, 34, 90, 254, 277, 292. Charlemagne, supposed to be the archetype of King Ar

thur, 255. Celebrated by the Islandic bards, 278.

His sword, 293. Chaucer, his style copied by Spenser, 172, 268. And

many of his sentiments, 188. Encomium upon

him, 174. Explained, 63. 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,


Crudor, his insolence and cruelty, copied from Morto

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


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.


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.

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* English Language, its corruptions about Queen Eliza

beth'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.

Fagrics, 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 ex

plained, 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

Its romantic turn, 244. Florimel, story of her girdle whence taken, 16. Furies, the ancients afraid to name them, 94.

inance, 241.


Galy Half-pence, explained, 246.
Geneura, tale of, in Ariosto, copied by Spenser, 281.

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