INDEX

A.

ABDORBHAMAN III., his efforts for
the advancement of literature,
III. 4.

Abreu, Duarte de, III. 324.

Acciajuolo, the seneschal, of Naples,
I. 142.

Acquaviva, cardinal, III. 125.

Aga, Hassan, dey of Algiers, III.
138.

Aguirre, Lope de, III. 110.

Agyropylo, Giovanni, I. 163.

Alfieri, Vittorio, his birth and parentage,
II. 250. His early education;
placed at a public school
at Turin, 252. System of education
pursued at the academy, 253.
Progress of his education, 255.
Circumstances of his life greatly
altered, 256. Anecdote characteristic
of the obstinacy of his
disposition, 258. Visits his mother
at Genoa, 259. Admitted
as ensign into the provincial
regiment of Asti, 260. Visits
Rome and Naples under the care
of an English catholic, 261. Regards
coldly those objects which
render Rome a city of absolute
enchantment, 262. Visits France
and England, 263. Singularities
of his character, 261. Circumstances
of his entrance into Paris,
265. His enthusiasm on visiting
London, 266. Becomes really in
love, 267. Disappointed in a
matrimonial project proposed to
him by his brother-in-law, 268.
Comes of age, according to the
laws of his country, and sets out
on his travels with an income of
1200l. a-year, and a large sum
in ready money, 268. Visits
England; his attachment to a
lady of rank, 269. Is challenged
by her husband, 270. Leaves his
unworthy mistress, and pursues
his travels, 271. Anecdote characteristic
of the violence of his
temper, 272. Becomes a cavalier
servente to a lady of rank, 273.
Determines to break off the disgraceful
intercourse, 274. Gives
the first token of the spirit of
composition, in a sonnet in commemoration
of the freedom he
had acquired, 274. At the age
of seven and twenty, enters into
the difficult engagement with the
public and himself, to become the
writer of tragedies, 275. Difficulties
which he had to overcome,
276. Resolves to pass six months
in Tuscany, to learn, hear, and
feel Tuscan only, 277. His labours
in literature confined
chiefly to formation of style, 278.
Commencement of his friendship
with Gori, 279. Commencement
of his attachment to Louisa
Stolberg, countess of Albany, 280.
Energy and conciseness the distinguishing
marks of his dramas,
282. Outline of his tragedy,
entitled "Philip," 284. Takes
up his residence at Rome, 286.
Remarks on his sacred dramas,
287. His continued intimacy
with the countess of Albany, 288.
Goes into voluntary exile, to prevent
any actual measures of prohibition
and banishment, 290.
Returns to Italy after two years,
absence, 291. Outline of his
tragedy, entitled "Myrrha," 292.
Accompanies the countess of
Albany to Paris, and establishes
himself there, 293. Betakes
himself to writing the memoirs
of his life, 294. Remarks on his
translation of the Æneid, 295.
Driven from France by the revolution
of 1791, 296. Returns
to Florence with the countess of
Albany, 297. His translation of
"Sallust," an excellent specimen
of style, 293. At the age of forty-six,
applies himself with ardour
to the study of the Greek language,
299. His melancholy increased
by the irritation caused
by political events, 300. His last
illness and death, in the fifty-sixth
year of his age, 301. Translation
from a sonnet, in which he describes
his own person, 302.

Alfonso, duke of Ferrara, I. 207.

Allegri, Francesco, I. 145.

Alphonso X., his zeal for literature;
his poetry, III. 11.

Alphonso XI., his poems, III. 12.

Amalasunta, the Gothic queen of
Spain, III. 3.

Andrea, prince of Hungary, I. 91.

Angelo, Michael, I. 34.

Angulo, doctor Gregorio de, III.
201.

Antiquário, Jacopo, I. 165.

Aquinas, Thomas, I. 9.

Archimedes, II. 3.

Aretino, I. 11.

Ariosto, Ludovico, his birth, parentage,
and early education, I.
196. Composes a drama on the
story of Pyramus and Thisbe,
197. Becomes eminent among his
contemporaries for the critical
skill with which he elucidated
obscure passages in Horace and
Ovid, 198. The golden age of his
life shortened by the death of his
father, 199. Obliged, at the age
of four and twenty, to turn from
quiet to active duties, and exchange
Homer for waste books
and ledgers, 200. Remarks on
his satires, 201. Courted, admired,
applauded, and of course envied,
in the first circle of Italian
society, both for his conversation,
his learning, and his poetry, 202.
Remarks on his work, entitled
"Astolpho's Journey to the
Moon," 203. Remarks on his
"Orlando Furioso," 204. Sent by
the duke of Ferrara, as ambassador
to Rome, to pacify the wrath of
Julius II., 205. His second embassy
to Rome, and uncourteous reception
from the pontiff, 206. Singular
manner in which the duke
retaliates for the indignity shown
to himself and his representative,
207. Causes for the principal
interruptions in his literary labours,
208. Refuses to accompany
the cardinal Hippolito to
visit his archbishopric in Segovia,
209. His whimsical letter to his
brother Alessandro on the subject,
212. Persuaded to enter
into the service of the duke of
Ferrara, 217. His literary pursuits
retarded by his struggles
against the solicitudes, discomforts,
and mortifications of narrow
and precarious circumstances,
218. His curious reasons
for not taking priest's orders, 219.
Is patronised by Leo X., 219. His
own account of Leo's ingratitude,
220. Extracts from his satires,
222. His description of his visit
to Rome, and his specious reception
by Leo, 223. Further extracts
from his satires, 224. Simple,
yet facetious, style of his
fables, 225. Appointed to the
government of Graffagnana, a
mountainous district, lying between
Modena and Lucca, 226.
Story of a rencontre with some
of his uncouth neighbours, 227.
Extract from his Fifth Satire, 229.
Invited to accept a third embassy
to Rome, 230. His reason for
refusing, as given in the Seventh
Satire, 231. After three years,
being released from the cares of
his government, he returns with
entire devotion of his time and
talents to the "Sacred College of
the Muses," 232. Anecdote,
characteristic at once of his
phlegm and his acuteness in his
art, 233. Critique on his Seven
Satires, 233. His last illness and
death, 234. His person and character,
236. No poet of any age
has more inseparably identified
his conception with his language,
238. Impossibility of translating
them, 239. Anecdote of, 241.
Whimsical peculiarities of his
personal habits, 242. His last
hours, 243. Monuments to his
memory, 244. Remarks on his
works in general, 245. Review
of his "Orlando Furioso," 250.
Immoral tendency of his writings, 254.

Aristotle, II. 5.

Attila the Hun, I. 2.

Audibert de Noves, I. 68.

Ayala, III. 12.