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C O N T E N T S.

Sect, I.

Pag. Of the plan and conduct of the Faerie Queene,

Sect. II,
Of Spenser's imitations from old romances,

17 Sect. III. Of Spenser's use and abuse of antient history and mythology, 66

Sect. IV.
Of Spenser's ftanza, verfification, and language, 113

Sect. V.
Of Spenser's imitations from Chaucer,

135 Sect. VI. Of Spenser's imitations from Ariosto,


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Sect. VII. Of Spenser's inaccuracies,

Sect. VIII. Of Spenser's imitations of himself,

36 Sect. IX. Mr. Upton's opinion concerning several passages in Spenfer, examined,

71 Sect. X. Of Spenser's allegorical chara&ter,

87 Secr. XI. Containing miscellaneous remarks,



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A. BBE DU Bos, his cenfure of Ariofto's Orlando Furioso, I. 14. Condemns those painters who introduce

their own allegories into sacred subjects, II. 97. Academicians, della Crusca, prefer Ariosto to Talo, I. 3. Action, allegorical, why faulty, II. 113. Adonis, his gardens, Spenser founds his fiction concerning

them on ancient mythology, I. 89. adore and adorn, II. 201. AGAVE, her story, I. 101. AGDISTES, a Genius, I. 82. Alexandrine verses, rules concerning them, II. 154. Allegories, Spenser's manner of forming them accounted for,

II. 8y. Publickly fewn in Queen Elizabeth's time, 90. Capital faults in Spenser's, 95. Some of them examined, 95, 98. Spenser's manner of allegorising

different from Ariofto's, and why, 91.. Alliteration, practised by the Saxon poets, II. 215. Amber-grease, a seasoning in cookery, I. 121. Ambiguous expression, instances of, in Spenser, II. 34.

In Milton, 35. Anachronism, instances of, in Spenser, II. 21. . Antients, imitate every thing, I. 228. ANTONINUs Liberalis, a valuable compiler, I. 94. APOLLONIUS, Rhodius, illustrated, I. 105. Copied by

Milton, 105, 111. Illustrated, II. 151. ARCHIMAGO, instance of, his hypocrisy, copied from Ariosto,

I. 198. Of bis illusion, 199. Architecture, antient, in England, its gradations, II. 184. ARIOsto, imitates Boyardo, I. 2. Account of the plan of

his poem, 12. His genius comic, I. 225. Defended, 226. Ardenne, water of, Ariosto's mention of it alluded to by

Spenser, I. 211. VOL. I,

Arte of English poesie, author of, condemns Spenser's obfo

lete ftile in his Pastorals, I. 118. Commends his Pasto-
rals, 122. His account of singing to the harp in Queen

Elizabeth's time, 52. Cenjures Skelton, 52.
ARTHUR, Prince, cannot properly be called the hero of the

ARTHUR, King, his round table, I. 43, 65. 186. Po-

pularity of his story, 41.
AsTRÆUS, a sea-god, account of him, I. 102.
Astronomy, a favourite science in the dark ages, II. 240.
AVARICE, Ariosto’s, why so represented, I. 222.

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Bards, introduced with propriety by Spenser, II. 164.
Bale, Il. 122.
Band, II. 161.
BEAUMONT and FLETCHER, illustrated, I. 41. II. 94.

Explained, 201.
BELLONA, Spenser misrepresents her birth, I. 112.
BENI, compares Ariosto with Homer, I. I.
Bevis, Sir, of Southampton, imitated by Spenser, I. 46.
Bite, I. 168.
BLANDAMOUR, a name, drawn from Chaucer, or from a

romance so called, I. 189.
BLATANT Beast, the hint of it taken from Aporte Arthur,

a romance, I. 22. Partly occafioned by Ariosto's descrip

tion of Jealousy and Avarice, 222.
Floud-gu.ltınelli, and Bloud-thirtie, II. 139.
Brain-pan, II.

BRAND, II. 259.
Britaine's IDA, not written by Spenser, I. 123. Criti-

cism and conjectures concerning it, 124.
Bridge, remarkable one, copied from Ariosto, or from Porte

Arthur, I. 213.
BRIGADORE, name of a horse, drawn from Ariosto, I. 213.
BRITOMART, how properly filed the patroness of chastity,

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