may be found in profusion
throughout the later works of Dryden. A more just and complete estimate
of his natural and acquired powers,--of the merits of his style and of
its blemishes,--may be formed from the Hind and Panther, than from any
of his other writings. As a didactic poem, it is far superior to the
Religio Laici. The satirical parts, particularly the character of
Burnet, are scarcely inferior to the best passages in Absalom and
Achitophel. There are, moreover, occasional touches of a tenderness
which affects us more, because it is decent, rational, and manly, and
reminds us of the best scenes in his tragedies. His versification sinks
and swells in happy unison with the subject; and his wealth of
language seems to be unlimited. Yet, the carelessness with which he has
constructed his plot, and the innumerable inconsistencies into which
he is every moment falling, detract much from the pleasure which such
various excellence affords.

In Absalom and Achitophel he hit upon a new and rich vein, which he
worked with signal success. They ancient satirists were the subjects
of a despotic government. They were compelled to abstain from political
topics, and to confine their attention to the frailties of private life.
They might, indeed, sometimes venture to take liberties with public men,

"Quorum Flaminia tegitur cinis atque Latina."

Thus Juvenal immortalised the obsequious senators who met to decide the
fate of the memorable turbot. His fourth satire frequently reminds us of
the great political poem of Dryden; but it was not written till Domitian
had fallen: and it wants something of the peculiar flavour which belongs
to contemporary invective alone. His anger has stood so long that,
though the body is not impaired, the effervescence, the first cream,
is gone. Boileau lay under similar restraints; and, if he had been free
from all restraints, would have been no match for our countryman.

The advantages which Dryden derived from the nature of his subject he
improved to the very utmost. His manner is almost perfect. The style
of Horace and Boileau is fit only for light subjects. The Frenchman
did indeed attempt to turn the theological reasonings of the Provincial
Letters into verse, but with very indifferent success. The glitter of
Pope is gold. The ardour of Persius is without brilliancy. Magnificent
versification and ingenious combinations rarely harmonise with the
expression of deep feeling. In Juvenal and Dr