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I. 84. Her hiftory, 85. Her difcovery copied from
Arifto, 209. She is a copy of Ariofto's Marfifa, and
Bradamante, 209.

BUSYRANE, whence drawn, II. 173.

By Hooke or by Crooke, II. 205.

C.

CERVANTES, illuftrated, I. 24, 65, 186, 202, 214.
II. 34. 89. 124. 225.

Chambers, how formerly adorned, II. 222. 232.
Character, II. 162.

CHARLEMAGNE, Supposed to be the archetype of king Arthur,

I. 186. Caxton's hiftory of him, II. 43. Celebrated by the Iflandic bards, I. 203. His fword, 215. CHARLES II. the tafte for poetry in his age, cenfured, II. 111. CHAUCER, his ftile copied by Spenser, I. 124, 196. And many of his fentiments, 135. 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, Supp sed to be the proper reading in Milton's fecond verfe of l'Allegro, and why, I. 73.

Charm, II. 239.

Checklaton, I. 194.

Childed, II. 229.

CHIRON, beautiful description of his astonishment, after hearing the mufic f Orpheus, I. 111.

Chivalry, practised in Queen Elizabeth's age, I. 18. II. 96. It's use and importance, II. 226. Books of, ridiculed by Chaucer, I. 143. Vindicated and recommended, II. 267.* Clang, II. 143.

Croniclers, ISLANDIC, Specimen of their stories, I. 203. COCYTUS, Spenfer mifreprefents mythology concerning it, I. 80. Commentators, their difference of opinion accounted for, II. 71.

* b 2

Concealment, a fource of the fublime, II. 221. Conftruction, confufed, inftances of, in Spenfer, II. 13. Concented and Concent, II. 166.

Conteck, I. 173.

CROMWELL, Oliver, anecdote concerning, II. 236. CRUDOR, his infolence and cruelty, copied from Worte Arthur, I. 24.

CUPID and PSYCHE, Spenfer mifreprefents Apuleius's account of them, I. 90.

CUPID, A representation of him copied from Chaucer, I. 160.

A falfe one, 161. How reprefented by Catullus and Sappho, 161. A defcription of him copied from Ariofto, or from N. Archias, 223.

Cartefie, it's importance, in the character of a knight, II. 20.

D.

Dance of Death, account of prints fo called, II. 117. Alluded to by Spenfser, 121.

DANGER, perfonified from Chaucer, I. 188.

Darraine, I. 164.

Death's door, II. 181.

Defpair, why Spenfer excelled in painting it, II. 55.
Difple, II. 136.

Doen to die, II. 168.

Douzepere, I. 184.

Dragon-encounters, copied by Spenfer from romance, I. 54. DRAYTON, a romantic story borrowed by him from Geoffrey of Monmouth, I. 26. Where buried, 25.

DRYDEN, cenfured for affirming that prince Arthur appears in every part of the FAERIE QUEENE, I. 7. And for his manner of praising the Paradife Loft, II. 112. And for mifreprefenting Milton's reafon for chufing blank verfe, 112. Imitates Spenfer, 140.

Dryghte, II. 217.

Dueffa, her difcovery, copied from Ariofto, I. 204.

E.

EDWARD, Black Prince, MS. metrical biftory of, I. 142. E. K. the commentator on Spenfer's Æglogues, his reafon why Spenfer chofe to write in an obsolete ftile, I. 126. His real name, 26.

Elfe, I. 55.

Elfes and Goblins, whence derived, I. 57.
Elficleos, king Henry vii. I. 57.

ELISABETH, queen, flattered by Spenser, II. 49. Anecdote concerning, 179. Her maids of honour how employed, 129.

Elleipfis, inftances of, in Spenfer, I. 4. In Milton, 12. Embowo, II. 134.

Enchanted cup, ftory of, from Borte Arthur, I. 39. English Language, its corruptions about Queen Elizabeth's

age, I. 127. Spenfer's disapprobation of these corruptions, proved from his own words, 130. Notwithftanding he himself contributed to add to these corruptions, and why, 132.

Endlong, I. 184.

ENVY, Spenser's indelicacy in defcribing her, I. 69. And excellence, 70.

F.

Faeries, fometimes used for any ideal people, I. 61. Whence the fiction of them was derived, 62. Not always diminutive beings, 63.

FAERIE Nation, Spenfer's original and genealogy of it explained, I. 56.

FAERIE QUEENE, a popular tradition, I. 58. Supposed to exift in King Arthur's time, 58.

Spenfer's poem fo

called, occafioned many imitations, on its publication,

in which fairies were actors, 59.

Falconry, Hiftory of, II. 171. Knowledge of, an accom plishment in the character of a knight, 171.

fatall, II. 65.

FEAR, Spenfer excels in painting it, II. 53.
FERRAUGH, Sir, a name drawn from Ariosto, I. 210.
File, I. 163.

Filed, II. 158.

FLEECE, golden, expedition of, a favourite flory in romance, I. 176. Its romantic turn, 178.

FLORIMEL, falfe, 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 sublime fiction, II. 111.

FURIES, the antients afraid to name them, I. 67.

G.

Galy Half-pence, explained, I. 180.

GASCOIGNE, George, account of, II. 167.

GELLI, his Circe, afforded a hint to Spenser, II. 153. GENEURA, tale of, in Ariofto, copied by Spenser, I. 205. GENIUS, a particular one, drawn by Spenfer from N. Comes, I. 82. And a circumftance concerning him from Horace, 83. Another drawn from the picture of Cebes, 83. Siambeur, 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.

Globe, 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 firft English poets, II. 103,
GRACES, Milton improperly misrepresents their birth, I. 104.
GRAYLE, Holy, a tradition concerning it, borrowed from
Morte Arthur, I. 34.

Grayle, II. 243.

Sride, II. 62.

GUILE, net of, borrowed from Ariofto, I. 216.

H.

Hair, long, defcription of, copied from Chaucer, I. 182. Yellow, why Spenfer always attributes it to his la

dies, II. 48.

Hall, Marshall of, his Office, 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 verfification cenfured in the tranflation of Orlando, I. 122.

Harrow, I. 171.

HAWES, Stephen, his character, II. 105. His works, 106. HECATE, Spenfer misrepresents her mythology, I. 112. HENRY viii. improvement of taste and learning in his age, II. 106.

Hefdin, Castle of, its tapestry, I. 177.

HERNE, Thomas, Specimen of his preface to Robert of Glocefter, II. 102.

Hero, Unity of, necessary in the heroic poem, 1. 6. Not preferved in the FAERIE QUEENE, 6. His bufinefs in the beroic poem, 7. Herle, and heifal, II. 162.

him, for himself, II. 251.

HIPPOLITUS, his story mifreprefented, II. 209.

History, antient, often falfified by Spenfer, and why, I. 66. Hiftories, a fpecies of drama, II. 109.

Historical Regularity, Spénfer varies from it, in the plan of the FAERIE QUEENE, I. 11.

HOLBEIN, Hans, prints called the Dance of Death, falfly attributed to him, II. 116. His picture, fo called, at Bafil, II. 117.

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