A Review of his Life
Extract from the "Lusiad," and a Critique on it
[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].
B.
Barbariccia, I. [15].
Barbato, the chancellor of the king
of Naples, I. [120].
Bardi, cavalier de, I. [6].
Barlaam, Bernardo, I. [91].
Barreto, Pedro, governor of Sofala,
III. [323].
Barrili, Giovanni, I. [120].
Basseville, Hugh, II. [314].
Bazan, Don Alvaro, III. [113].
Beatrice Portinari, I. [6].
Bella, the mother of Dante, I. [2].
Bellarmine, cardinal, II. [33].
Bembo, Bernardo, I. [35].
Bembo, cardinal, I. [204].
Benavides, don Diego de, III. [141].
Bene, Sennucio del, I. [90].
Benedict XII., pope, I. [89].
Bermudez, Geronimo, a monk of
the order of St. Dominic, author
of the first original tragedy published
in Spain, III. [97].
Berni, Francesco, his birth and
early life, I. [188]. Notice of his
writings, [189].
Bianchi, I. [18].
Bibbiena, cardinal, I. [188].
Boccaccio, Giovanni di, his birth
and parentage, I. [116]. His early
education, [117]. His sensations
on visiting the tomb of Virgil,
[119]. His first meeting with Petrarch,
[120]. His own account of
his attachment to the lady Mary,
natural daughter of Robert, king
of Naples, [121]. Description of
her person, [122]. Outline of his
poem, entitled "Filocopo," [123].
The first to render the ottava
rima familiar to the Italians, [124].
Obliged to return to Florence,
[125]. The "Decameron," a
model of the Tuscan dialect, [125].
Writes his "Ameto," a composition
of mingled prose and verse,
the first of the kind, [126]. Returns
to Naples on his father's
second marriage, [126]. His description
of the plague in Florence,
[129]. His works preached
against and prohibited by Salvanorola,
[130]. Returns to Florence
on the death of his father.
Commencement of his intimacy
with Petrarch, [131]. Sent on
various embassies, [132]. His political
negotiations, [133]. His
letter to Petrarch, expressing his
regret and disappointment on his
having taken up his abode at
Milan, under the protection of
Giovanni Visconti, [133]. Petrarch's
moderate answer, [134].
Popularity of the "Decameron,"
[134]. His disinterested love of
letters, and extraordinary efforts
to create and diffuse a knowledge
of the Greek language and
writers, [135]. Spends large sums
of money in the acquisition of
ancient manuscripts, [136]. Anecdote
illustrative of his anxiety
for the possession of them, [136].
His unwearied and successful
labour in the cause of Hellenic
literature, [137]. Obtains a decree
from the Florentine government
for the erection of a Greek professorship
in their university, [138].
Beneficial change in moral habits
brought about by the admonitions
and example of Petrarch,
[138]. The work begun by Petrarch,
achieved by a singular
circumstance, [139]. His letter to
Petrarch on the subject, [140].
Adopts the clerical dress, and
endeavours to suppress those
writings which scandalised the
pious, [142]. Retreats from Florence,
and takes up his abode at
the castle of Certaldo, [143]. Brief
review of his later works, [144].
Appointed, on two occasions, ambassador
to pope Urban V., [145].
His letter to Petrarch, describing
his visit to the daughter and son-in-law
of that poet, [146]. Retires
to the quiet of Certaldo, where
he busies himself in the publication
of his work of the "Genealogy
of the Gods," [147]. Appointed
by the Florentine government
to the professorship for
the public explanation of the
"Divina Commedia," [148]. His
last illness and death, [149].
Bojardo, Matteo Maria, his birth,
parentage, and early life, I. [181].
His marriage and death, [182].
Abstract of the story of his
"Orlando Innamorato," [183].
Boniface, pepe, VIII., I. [66].
Borgia, Cæsar, his early life, I. [265].
His remorseless cruelty, [267].
His conversations with Machiavelli,
[268]. Anecdote characteristic
of his system of government,
[279].
His downfal, [281]. His
imprisonment and death, [284].
Boscan Almogaver, Mosen Juan,
the first Spanish poet who introduced
the Italian style, III. [21].
Outline of his life, [22]. Circumstances
which induced him to introduce
the Italian style, [23].
His translation of Castiglione's
"Libro del Cortigiano," [24]. Commencement
of his friendship with
Diego de Mendoza, [25]. Translation
of his epistles in imitation
of Horace, [26]. His death, [32].
His person, [33]. Review of his
writings, [34].
Boutervek, III. [8].
Bowring, Dr. his translation of the
Spanish Cancionero, III. [9].
Bozzole, Federigo da, II. [66].
Bracciolini, Poggio, I. [151].
Brossana, Francesco, I. [105].
Bruni, Leonardo, I. [18].
Bruno, Giordano, II. [4].
Bubwith, Nicholas, bishop of Bath,
I. [8].
Bulgarelli, Marianna, the prima
donna, II. [191]. Her friendship
for Metastasio, [192]. Her death,
[198].
Buondelmonte, Zanobi, I. [304].
Burchiello, the word "burlesque"
derived from his name and the
style of his writings, I. [180].
Burney, Dr., his account of his
visit to Metastasio in 1772, II. [210].