C

INDEX

TO THE

SECOND VOLUME.

A.

ABBE du Bos, condemns those painters who introduce

their own allegories into sacred subjects, 84.

Action, allegorical, why faulty, 109.

Adore and Adorn, 230.

Alexandrine verses, rules concerning them, 163.

Allegories, Spenser's manner of forming them accounted
for, 74. Publicly shewn in Queen Elizabeth's
time, 75. Capital faults in Spenser's, 82. Some
of them examined, 82, 87. Spenser's manner of
allegorising different from Ariosto's, and why, 76.
Alliteration, practised by the Saxon poets, 248.
Apollonius, Rhodius, illustrated, 161.

Architecture, ancient, in England, its gradations, 206.
Astronomy, a favourable science in the dark age, 283.

B.

Bards, introduced with propriety by Spenser, 179.

Bale, 123.

Bard, 175.

Beaumont and Fletcher, illustrated, 80.

230.

Bloud-guiltiness, and Bloud-thirstie, 146.
Brain-pan, 263.

Brand, 309.

Busyrane, whence drawn, 191.

By Hooke or by Crooke, 235.

C.

Cervantes, illustrated, 74, 125, 306, 350.

Chambers, how formerly adorned, 272.

Charactered, 176.

Charlemagne, Caxton's history of him, 10.

Explained,

Chaucer, corrected, 34. Why styled one of the first
English poets, 94. Explained, 173, 136.

Ceiris, of Virgil, where copied by Spenser, 303.
Charm, 282.

Childed, 268.

Chivalry, practised in Queen Elizabeth's age, its use
and importance, 73. Vindicated and recommended,
321.

Clang, 151.

Commentators, their difference of opinion accounted

for, 47.

Concealment, a source of the sublime, 257.

Cromwell, Oliver, anecdote concerning, 278.

D.

Dance of Death, account of prints so called, 115. Al-

luded to by Spenser, 121.

Death's door, 202.

Despair, why Spenser excelled in painting it, 25.
Disple, 141.

Dryden, censured for his manner of praising the Paradise
And for misrepresenting Milton's rea-

Lost, 108.

son for choosing blank verse, 107. Imitates Spen-
ser, 147.

Dryghte, 251.

E.

Elizabeth, Queen, flattered by Spenser, 19. Anecdote
concerning, 199. Her maids of honour, how em-
ployed, 132.

Embowed, 138.

F.

Falconry, History of, 189. Knowledge of, an accom-
plishment in the character of a knight, ib.

Fatall, 40.

Fear, Spenser excels in painting it, 24.

Filed, 71.

Florimel, false, simile concerning her examined, 236.
Fountains, 162.

French, poets, more fond of familiar manners than sub

lime fiction, 107.

G.

Gascoigne, George, account of, 184.

Gelli, his Circe, afforded a hint to Spenser, 164.

Glocester, Robert of, 93.

Gorlois, story of, alluded to by Milton, 178.
Gower, why styled one of the first English poets, 94,
Gride, 35.

H.

Hair, yellow, why Spenser always attributes it to his
ladies, 18.

Hall, Marshall of, his office, 242.

Harding, John, his character, 97.

Hawes, Stephen, his character, 97. His works, 98.
Henry VIII. improvement of taste and learning in his
age, 99.

Herne, Thomas, specimen of his preface to Robert of

Glocester, 92.

Herse, and Hersal, 176.

Him, for himself, 300.

Hippolitus, his story misrepresented, 240.

Histories, a species of drama, 102.

Holbein, Hans, prints called the Dance of Death falsely
attributed to him, 114. His picture, so called
at Basil, 115.

Hughes, the editor of Spenser, à reading of him re

jected, 57.

Huon, Sir, a romance so called, 144.

Hurd, Mr., his sentiments on poetical imitation adopted
and commended, 1.

I.

James I. Allegory began to decline in his age, 104.
His pedantry vindicated, 106. His military genius
illustrated, 177.

Mahound, a character on our stage, 265.