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Genlos, a particular one, drawn by Spenser from N.
. Comes, 114. And a circumstance concerning him
ture of Cebes, 115.
Queene, 7. Prince Arthur improperly conducted
to this end, 8, 9.
Morte Arthur, 49.
Hair, long, description of, copied from Chaucer, 249.
to be modern, 215,
of Orlando, 169.
preserved in the Faerie Queene, 8. His business
in the heroic
Historical Regularity, Spenser varies from it, in the play
of the Faerie Queene, 17,
Horses, their names in romance, 292.
ing the first book of the Faerie Queene, as a regular
to modern orthography, 167.
on the stage with applause, before Shakespeare's
cimen of, in old poems, 248.
sured, 184. His sentiments on old words com-
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.
Kenelworth, Castle of, its round table, 41.
by Spenser, 40. Introduced to make part of Queen
luded to by B. Jonson, 45., Lane, John, account of him, 214, Lubber-fiend, 166,
Malbecco, his escape, copied from Ariosto, 285,
Halls, 83. Specimen of them, 83.
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.
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
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.
Oberon, King Henry VIII. 80.
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.
Pastorals, fashionable in Spenser's age, and why, 297.
luded to by Milton, 256.
271. Imitates Jonson, 324. Poetry, use and nature of it in the carly ages, 152. Prick, to, 266.