"Thereupon, with very little conjuration, by those three remarkable qualities of railing, boasting, and thieving, I found a Dryden in the frontispiece; then going through the preface, I observed the drawing of a fool's picture to be the design of the whole piece; and reflecting on the painter, I considered that probably the pamphlet might be like his plays, not to be written without help: and according to expectation, I discovered the author of "Epsom Wells," and the author of "Pandion and Amphigenia," lent their assistance. How! Three to one, thought I! and three gentlemen of such disagreeing qualifications in one club! The first, a man that has had wit, but is past it; the second, that has it, if he can keep it; and the third, that neither has, nor is ever like to have it. Then boldly on I went, and fortified with patience (as I found it required) for a full perusal, I wondered the less at the deformity of the piece, when such different heads went to the composure. The first of these is the only person that pretends an injury, received from a satiric line or two in the "Epistle to Morocco;" and consequently I conclude him the promoter of so ill-natured a retort. The second, I suppose only putting his comical hand, to help forward with the mirth of so ridiculous a libel; and the third, perhaps out of a vain glory of being in print, knowing himself to be such a reptile in poetry, that he's beholding to lampoon for giving the world to know that there is such a writer in being."
[163] There was a royal theatre at Whitehall, where this play was twice acted. This playhouse was burned in 1697. The dancing tree, refers to this stage direction in the second act: "A Moorish dance is presented by Moors in several habits, who bring in an artificial palm-tree, about which they dance to several antique instruments of music."
[164] For Ben Jonson's controversy with Dekker, See Vol. X. p. 451. Dekker was as far superior to Settle, as Dryden was to Jonson.
[165] This seems, as conjectured by Mr Malone, to have been some parody on Macbeth, which, strange to tell! had been converted into a sort of opera by D'Avenant. Such burlesque performances were fashionable about this time.
[166] These lines are a parody on the following passage in "The Empress of Morocco," (act ii. sc. 1.) which, we are told in the Remarks, was much admired.
The scene opened, is represented the prospect of a large river, with a glorious fleet of ships, supposed to be the navy of Muly Hamet. After the sound of trumpets, and the discharging of guns,
Enter King, young Queen, Hametalhaz, and Attendants.
Hamet. Great Sir, your royal father's general
Prince Muly Hamet's fleet does homeward sail,
And in a solemn and triumphant pride