Horn, a miraculous one, copied from Ariofto, I. 201. HORROR, picture of him, copied by Milton from Spenser, I. 76. Horfes their names in romance, I. 214. HUGHES, the editor of Spenfer, cenfured, for commending the first book of the FAERIE QUEENE, as a regular 'a contrivance, I. 8. For reducing the text of Spenfer to modern orthography, 121. A reading of him rejected, II. 78. HUON, Sir, a romance fo called, II. 138. HURD, Mr. his fentiments on poetical imitation adopted and commended, II. 36. HYLAS, a new folution concerning his fable, I. 93. I. JAMES I. Allegory began to decline in his age, II. 109. His pedantry vindicated, 110. His military genius illuftrated, 162. Jane, I. 179. JEALOUSY, Ariofto's, for what reafon fo represented, I. 222. Jew, character of a cruel and covetous one, represented on the ftage with applause, before Shakespeare's Shylock, I. 132. Imitations, hard to be afcertained, I. 36. Spenfer's of himself, 37 Inconfiftency, inftances of, in Spenser, II. 17. Indelicacy, inftances of Spenser's, I. 69. Inaccuracies, Spenser guilty of many, and why, II. 2. INO, Spenfer's confused account of her ftory, I. 101. Introduction, form of, copied from Chaucer, I. 174. Specimen of, in old pɛems, 181. Invent, II. 238. JONSON, Ben, his opinion of Spenfer's language, cenfured, I. 133.His fentiments on old words commended, 133. Is not long, II. 182. Italian language, deals largely in fimilar cadences, I. 113. Much affected in 2. Elizabeth's time, 127. Italian books, many tranflated into English in 2, Elizabeth's time, I. 128. Poets, cenfured, I. 2. Vindicated, II. JUVENAL, copied by Spenfer, II. 258. K. Kenelworth, Caftle of, its round table, I. 28. Kings and Kefars, II. 212. LSD, I. 195. L. LADY OF THE LAKE, the fiction of her, whence borrowed by Spenfer, I. 28. Introduced to make part of Queen Elizabeth's entertainment at Kenelworth, 29. Alluded to by B. Jonfon, 31. Lair, II. 182. LANE, John, account of him, I. 155. LONGLANDE, author of Pierce Plowman's Vifions, II. 213. Lubber-fiend, I. 120. LUCRETIUS, where exceeded by Spenser, II. 204. Make and arr, II. 80. M. MALBECCO, his escape, copied from Ariofto, I. 209. Many, I. 195. MAROT, Clement, imitated by Spenfer, I. 219. MARSTON, John, his fatires commended, I. 59. Inferior to Hall's, 59. Specimen of them, 59. Marte, I. 162. MATERASTA, name of her caftle, drawn from Morte At, thur, I. 40. VOL. I. MASQUES, Milton indebted to one for a thought, II. 92. Spenfer's imitation of them, 93. Specimen of their machinery, II. 94. Meleemeth, II. 10. Merchant of Venice, drawn from an old ballad, I. 128. Morte Arthur, a romance, I. 33. His interview with MILTON, explained, corrected, illuftrated, I. 36, 37, 75, 76, 77, 78, 104, 109, 120, 121, 153, 187, 188. II. 12, 22, 51, 59, 63, 72, 86, 112, 115, 122, 126, 135, 141, 147, 148, 150, 160, 163, 164, 174, 177, 178, 181, 183, 201, 206, 207, 228, 230, 237, 241, 242, 249, 253, 254, 255, 256, 257, 260. Mirror, Britomart's, borrowed from Chaucer, I. 148. Mirror of Magiftrates, criticism upon, and account of, II. 108. Dis, II. 60. Mifrule, lord of, account of, II. 211. Monafteries, diffolution of, bad effects of, II. 247. MONTESQUIEU, his character of the English poets, I. 15. Morte Arthur, an old romance, printed by Caxton, imitated by Spenser, I. 19. A fashionable book in Queen Elizabeth's time, 27. Alluded to by Ben, Jonson, 35. And by Camden, 35. Moralize, II. 114. MORE, Sir Thomas, a pageant compofed by him, II. 47. Molt and least, I. 191. More and leffe, I. 191. Much and lite, I. 191. MURTHER, Milton's description of him, equalled by Fletcher, I. 77. MUSEUs, copied by Spenfer, II. 200. Mythology, antient, falfified by Spenser, and why, I. 66. N. NATALIS COMES, Spenfer copies the Deities prefent at the marriage of Thames and Medway, from him, I. 103. NATURE, description of her, copied from Chaucer, I. 160. Negatives, two for an affirmative, ufed by Chaucer, after the Saxon practice, I. 195. NEREUS, represented according to Mythology, by Spenfer, I. 103: NIGHT, justly represented by Spenser, I. 73. Milton fuppofed to have taken a hint from Spenser's representation of ber, 75. Nobility, ancient, their magnificence, II. 211. How diminished, 211. NOVEMBER, &c. copied from Chaucer, I. 161. O. OBERON, King Henry viii. I. 57. OLD AGE, figures of, II. 180. OLLYPHANT, a name, borrowed from Chaucer, I, 179. OPHION, Jaid to be of the ferpent race, by Apollonius, as qwell as by Milton, I. 105. Drdeal, a word, applied from Chaucer, I. 191. ORLANDO FURIO50, its plan more irregular than that of the FAERIE QUEENE, I. 12. Hint of its hero's madnefs, drawn from Morte Arthur, a Romance, I. 49. ORPHEUS, author of the Argonautics, falfely fo called, I. 100. ORPHEUS, his fong in Onomacritus and Apollonius, alluded to by Milton, I. 109. His fong in Apollonius, often alluded to by Spenser, 105. Orthography, often violated by Spenser, and other ancient poets, for the rhyme-fake, I. 119. ORTHRUS, I. 102. C 2 Pageants, antient, influenced the genius of Spenfer, II. 89. PLAN, of the FAERIE QUEENE, what, I. 4. Its faults, 5. POPE, imitates Jonfon, II. 12. His falfe fatire in ridicu ling Caxton, 265. His tranfiation of Homer injurious to true tafe, I. 198. Poder, II. 158. In what fenfe applied by Milton, 160. Poets, old english, how to be criticifed, II. 264. Prett, II. 66. Prick, to, I. 194. PROSERPINE, her garden, Spenfer falfifies mythology con cerning it, I. 80. Pretended, II. 258. Proverbs, copied from Chaucer, I. 171. PRYNNE, Specimen of his Hiftriomaftix, II. 235. ture, 236. Purple Ifland, of Fletcher, account of, II. 111. Pyned, I. 173. Queftyn beast, mentioned in Morte Arthur, a Romance, the origin of Spenfer's blatant beast, I. 22. |