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Genlos, a particular one, drawn by Spenser from N.

. Comes, 114. And a circumstance concerning him
from Horace, 115. Another drawn from the pic-

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

poem, 10.

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Historical Regularity, Spenser varies from it, in the play

of the Faerie Queene, 17,
Horn, a miraculous one, copied from Ariosto, 276.
Horror, picture of him, copied by Milton from Spen-

ser, 107.

Horses, their names in romance, 292.
Hughes, the editor of Spenser, censured, for commend-

ing 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.

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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. Spc.

cimen of, in old poems, 248.
Jonson, Ben, his opinion of Spenser's language, cen-

sured, 184. His sentiments on old words com-
mended, 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.

1

K.

Kenelworth, Castle of, its round table, 41.

L,

Lad, 267.
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. Al

luded to by B. Jonson, 45., Lane, John, account of him, 214, Lubber-fiend, 166,

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

Halls, 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 fron

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, horrowed from Chaucer, 205. Montesquieu, his character of the English poets, 22. Morte Arthur, an old romance, printed by Caxton, imi

tated 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.

1

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 Spen

ser, 142.

Night, justly represented by Spenser, 101. Milton sup

posed to have taken a hint from Spenser's represen

tation of her, 105. November, &c. copied from Cbaucer, 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, al

luded to by Milton, 150. His song in Apollonius,

often alluded to by Spenser, 145. Orthography, often violated by Spenser, and other an

cient 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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