us poems. He did not indeed, for that would
have been pains misapplied, attempt to smooth his verses into the
harmony of those in which he occasionally celebrates female beauty; but
he gave them varied tone, correct rhyme, and masculine energy, all which
had hitherto been strangers to the English satire.

Thus, while Dryden's style resembled that of Juvenal rather than Horace,
he may claim a superiority, for uniform and undeviating dignity, over
the Roman satirist. The age, whose appetite for scandal had been
profusely fed by lampoons and libels, now learned, that there was a more
elevated kind of satire, in which poignancy might be united with
elegance, and energy of thought with harmony of versification. The
example seems to have produced a strong effect. No poet, not even Settle
(for even the worst artist will improve from beholding a masterpiece),
afterwards conceived he had sufficiently accomplished his task by
presenting to the public, thoughts, however witty or caustic he might
deem them, clothed in the hobbling measure of Donne or Cleveland; and
expression and harmony began to be consulted, in satire, as well as
sarcastic humour or powerful illustration.

"Mac-Flecknoe," in some degree, differs from the other satires which
Dryden published at this time. It is not confined to the description of
character, but exhibits an imaginary course of incidents, in which the
principal personage takes a ludicrous share. In this it resembles
"Hudibras;" and both are quoted by Dryden himself as examples of the
Varronian satire. But there was this pointed difference, that Butler's
poem is burlesque, and Dryden's mock-heroic. "Mac-Flecknoe" is, I rather
believe, the first poem in the English language, in which the dignity of
a harmonised and lofty style is employed, not only to excite pleasure in
itself, but to increase, by contrast, the comic effect of the scenes
which it narrates; the subject being ludicrous, while the verse is
noble. The models of satire afforded by Dryden, as they have never been
equalled by any succeeding poet, were in a tone of excellence superior
far to all that had preceded them.

These reflections on the nature of Dryden's satires, have, in some
degree, interrupted our account of his political controversies. Not only
did he pour forth these works, one after another, with a fertility which
seemed to imply delight in his new labour; but, as if the spirit of the
time had taught him speed, he found leisur