poetry and prose alone!" This was the last distinct and
prolonged animadversion which our author bestowed upon his corpulent
antagonist.

Soon after this time Dryden wrote a biographical preface to Plutarch's
Lives, of which a new translation, by several hands, was in the press.
The dedication is addressed to the Duke of Ormond, the Barzillai of
"Absalom and Achitophel," whom Charles, after a long train of cold and
determined neglect, had in emergency recalled to his favour and his
councils. The first volume of Plutarch's Lives, with Dryden's Life of
the author, appeared in 1683.

About the same time, the king's express command engaged Dryden in a
work, which may be considered as a sort of illustration of the doctrines
laid down in the "Vindication of the Duke of Guise." It was the
translation of Maimbourg's "History of the League," expressly composed
to draw a parallel between the Huguenots of France and the Leaguers, as
both equal enemies of the monarchy. This comparison was easily
transferred to the sectaries of England, and the association proposed by
Shaftesbury. The work was published with unusual solemnity of title-page
and frontispiece; the former declaring that the translation was made by
his Majesty's command; the latter representing Charles on his throne,
surrounded by emblems expressive of hereditary and indefeasible
right.[39] The dedication to the king contains sentiments which savour
strongly of party violence, and even ferocity. The forgiving disposition
of the king is, according to the dedicator, the encouragement of the
conspirators. Like Antaeus they rise refreshed from a simple overthrow.
"These sons of earth are never to be trusted in their mother element;
they must be hoisted into the air, and strangled." Thus exasperated were
the most gentle tempers in these times of doubt and peril. The rigorous
tone adopted, confirms the opinion of those historians who observe,
that, after the discovery of the Rye-house Plot, Charles was fretted out
of his usual debonair ease, and became more morose and severe than had
been hitherto thought consistent with his disposition.

This translation was to be the last service which Dryden was to render
his good-humoured, selfish, and thoughtless patron. While the laureate
was preparing for the stage the opera of "Albion and Albanius," intended
to solemnise the triumph of Charles over the Whigs, or, as the author
expressed it, the double restoration of his sacred Majest