[11] Several of the literary techniques in the Spectator had been introduced into journalism by L'Estrange. Spectator No. 1, for example, presents a persona in the character of "Mr. Spectator"; No. 2 contains a dream-allegory; Nos. 11 and 34 present indirect discourse between dramatis personae; No. 19 sketches a Character of the Envious Man—all literary modes abundant in the Observator.
[12] See especially J. R. Jones, The First Whigs; The Politics of the Exclusion Crisis, 1678-1683 (London, 1961), pp. 20, 24, 50-51, 56, 94, 112, 123-124.
[13] For attribution and identification of Sheva, see G. R. Noyes, ed., The Poetical Works of John Dryden (Boston, 1909), pp. 137, 966.
[14] The works that are echoed in the Observator are Meric Casaubon, A Treatise Concerning Enthusiasme ... (London, 1655) and Henry More, Enthusiasmus Triumphatus ... (London, 1656).
[15] The mixture of tones is discussed in Alvin Kernan, The Cankered Muse (New Haven, 1959), pp. 68, 76; Leonard Feinberg, Introduction to Satire (Ames, Iowa, 1967), pp. 124-125; Gilbert Highet, The Anatomy of Satire (Princeton, 1962), p. 18.
[16] Hugh Macdonald, "Banter in English Controversial Prose After the Restoration," Essays and Studies by Members of the English Association, XXXII (1946), 22, 26, 38.
[17] The Power of Satire: Magic, Ritual, Art (Princeton, 1960), pp. 133-136, 164-165.
[18] Ibid., pp. 130-222 (passim).
[19] A Bibliography of the Theophrastan Character in English, With Several Portrait Characters (Cambridge, Mass., 1947).
[20] The Theophrastan Character in England to 1642 (Cambridge, Mass., 1947) and The Polemic Character, 1640-1661 (Lincoln, Neb., 1955).