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I. 84. Her history, 85. Her discovery copied from
C. CERVANTES, illustrated, I. 24, 65, 186, 202, 214.
II. 34. 89. 124. 225. Chambers, how formerly adorned, II. 222. 232. Charađưrd, II. 162. CHARLEMAGNE, supposed to be the archetype of king Arthur,
I. 186. Caxton's history of him, II. 43. Celebrated by the Islandic bards, I. 203. His sword, 215.
. CHARLES II. the taste for poetry in his age, censured, II. 111. CHAUCER, his ftile copied by Spenser, I. 124, 196. And
many of his sentiments, 13;. Encomium upon him, 125. Corrected, II. 62. Why filed one of the first english
poets, 103. Explained, I. 44. II. 160, 132. Ceiris, of Virgil, where copied by Spenser, II. 254. CERBERUS, supposed to be the proper reading in Milton's fe
cond verse of l' Allegro, and why, I. 73. Charm, II. 239. Checklaton, I. 194. Childed, II. 229. Chiron, beautiful description of bis astonishment, after hear
ing the music of Orpbeus, I. 111. Chivalry, practised in Queen Elizabeth's age, I. 18. II. gó.
It's use and importance, II. 226. Books of, ridiculed by
Chaucer, I. 143. Vindicated and recommended, II. 267." Ilang, II. 143. Croniclers, Islandic, specimen of their stories, I. 203. Cocytus, Spenser misrepresents mythology concerning it, I. 80. . Commentators, their difference of opinion accounted for, 11.71.
* b 2
Concealment, a source of the sublime, II. 221.
thur, I. 24. CUPID and Psyche, Spenser misrepresents Apuleius's ac
count of them, I. 90. CUPID, A representation of him copied from Chaucer, I. 160.
A false one, 161. How represented by Catullus and
or from N. Archias, 223. Cartefie, it's importance, in the character of a knight, II. 20.
Dance of Death, account of prints so called, II. 117. Al
luded to by Spenser, 121. DANGER, personified from Chaucer, I. 188. Darraine, I. 164. Death's door, II. 181. Despair, why Spenser excelled in painting it, II. 55. Disple, II. 136. Doen to die, II. 168. Douzepere, I. 184. Dragon-encounters, copied by Spenser from romance, I. 54. DRAYTON, a romantic story borrowed by him from Geoffrey
of Monmouth, I. 26. Where buried, 25. Dryden, censured for afirming that prince Arthur appears
in every part of the FAERJE QUEENE, I. 7. And for his manner of praising the Paradise Lost, II. 112. And for misrepresenting Milton's reason for chusing blank
verse, 112. Imitates Spenser, 140. Drrohte, II. 217. Duefla, her discovery, copied from Ariosto, I. 204.
E. EDWARD, Black Prince, MS. metrical biftory of, I. 142. E. K. the commentator on Spenser's Æglogues, his reason
why Spenser chose to write in an obsolete file, I. 126. His real name, 26.
Elfe, I. 55.
Elfes and Goblins, whence derived, I. 57
dote concerning, 179. Her maids of honour how em
ployed, 129. Elleipfis, instances of, in Spenser, I. 4. In Milton, 12. Embowd, II. 134. Enchanted cup, story of, from Morte Arthur, I. 39. English Language, its corruptions about Queen Elizabeth's
age, I. 127. Spenser's disapprobation of these corruptions, proved from his own words, 130. Notwithstanding he himself contributed to add to these corrup
tions, and why, 132. Endlong, I. 184. Envy, Spenser's indelicacy in describing her, I. 69. And
Faeries, sometimes used for any ideal people, I. 61. Whence
the fi&tion of them was derived, 62. Not always di
minutive beings, 63. Faerie Nation, Spenser's original and genealogy of it ex
plained, I. 56. FAERIE QueenE, a popular tradition, I. 38. Supposed to
exist in King Arthur's time, 58. Spenfer's poem so called, occafioned many imitations, on its publication,
in which fairies were actors, 59. Falconry, History of, II. 171. Knowledge of, an accom*
plishment in the character of a knight, 1714
sfatall, II. 65. Fear, Spenser excels in painting it, II. 53. FERRAUGH, Sir, a name drawn from Ariosto, I. 210. file, I. 163. ffiled, II. 158. Fleece, golden, expedition of, a favourite fory in re
mance, I. 176. Its romantic turn, 178. FLORIMEL, false, fimile concerning her examined, II. 206.
Story of her girdle whence taken, I. 54. Fountains, II. 151. French, Poets, more fond of familiar manners. than sub
lime fiction, II. 111. Furies, the antients afraid to name them, I. 67.
Galy Half-pence, explained, I. 180.
I. 82. And a circumstance concerning him fromHorace,
83. Another drawn from the picture of Cebes, 83. Giambeur, I. 194. Glitterand, I. 167. Glocester, Robert of, II. 102. GLORIANA, the attainment of her the end of the FAERIE
QUEENE. I. 6. Prince Arthur improperly conducted to
this end, 6, 7. Slode, I. 190. Beautifully applied by Gower, 191. GOODFELLOW, Robin, I. 120. GORLOis, ftory of, alluded to by Milton, II. 163. Gower, why filed one of the first English poets, II. 103, Graces, Milton improperly misrepresents their birth, I. 104. GRAYLE, Holy, a tradition concerning it, borrowed from
Porte Arthur, I. 34.
Grayle, II. 243.
H. Hair, long, description of, copied from Chaucer, I. 182.
Yellow, why Spenser always attributes it to his la
dies, II. 48. Hall, Marshall of, his Ofice, II. 210. HALL, Bishop, account of his fatires, I. 134. HARDYKNUTE, a Scottish poem, commended, I. 156.
Proved to be modern, 156. HARDING John, his character, II. 104. HARRINGTON, his versification censured in the translation
of Orlando, I. 122. Harrow, I. 171. Hawes, Stephen, his character, II. 105. His works, 106. Hecate, Spenser misrepresents her mythology, I. 112. Henry viii. improvement of taste and learning in his age,
II. 106. Hesdin, Castle of, its tapesiry, I. 177. HERNE, Thomas, specimen of his preface to Robert of Glo
cester, JI. 102. Hero, Unity of, necessary in the heroic poem, I. 6. Not
preserved in the FAERIE QUEENE, 6. His business in
the beroic poem, 7. herse, and heilal, II. 162. hiin, for himself, II. 251. HIPPOLITU, his story misrepresented, II. 209. History, antient, often falsified by Spenfer, and why, I. 66. Histories, a species of drama, II. 109. Historical Regularity, Spenser varies from it, in the plan of
the FAERIE QueenE, I. 11. HOLBEIN, Hans, prints called the Dance of Death, fallly
attributed to him, II. 116. His picture, so called, at Bahl, II. 117