The Dunciad is an instance of the mock-epic utilized for the purposes of satire. Here Pope, as regards theme, possibly had the idea suggested to him by Dryden's MacFlecknoe, but undoubtedly the heroic couplet, which the latter had first applied to satire and used with such conspicuous success, was still further polished and improved by Pope until, as Mr. Courthope says, "it became in his hands a rapier of perfect flexibility and temper". From the time of Pope until that of Byron this stately measure has been regarded as the metre best suited par excellence for the display of satiric point and brilliancy, and as the medium best calculated to confer dignity on political satire. The Dunciad, while personal malice enters into it, must not be regarded as, properly speaking, a malicious satire. From a literary censor's point of view almost every lash Pope administered was richly deserved. In this respect Pope has all Horace's fairness and moderation, while at the same time he exhibits not a little of Juvenal's depth of conviction that desperate diseases demand radical remedies.[19]
By the side of Pope stands an impressive but a mournful figure, one of the most tragic in our literature, to think of whom, as Thackeray says, "is like thinking of the ruin of a great empire". As an all-round satirist Jonathan Swift has no superior save Dryden, and he only by virtue of his broader human sympathies. In the works of the great Dean we have many distinct forms of satire. Scarce anything he wrote, with the exception of his unfortunate History of the Last Four Years of Queen Anne, but is marked by satiric touches that relieve the tedium of even its dullest pages. He has utilized nearly all the recognized modes of satiric composition throughout the range of his long list of works. In the Tale of a Tub he employed the vehicle of the satiric tale to lash the Dissenters, the Papists, and even the Church of England; in a word, the cant of religion as well as the pretensions of letters and the shams of the world. In the Battle of the Books the parody or travesty of the Romances of Chivalry is used to ridicule the controversy raging between Temple, Wotton, Boyle, and Bentley, regarding the comparative merits of ancient and modern writers. In Gulliver's Travels the fictitious narrative or mock journal is impressed into the service, the method consisting in adopting an absurd supposition at the outset and then gravely deducing the logical effects which follow. These three form the trio of great prose satires which from the epoch of their publication until now have remained the wonder and the delight of successive generations. Their realism, humorous invention, ready wit, unsparing irony, and keen ridicule have exercised as potent an attraction as their gloomy misanthropy has repelled. Among minor satires are his scathing attacks in prose and verse on the war party as a ring of Whig stock-jobbers, such as Advice to the October Club, Public Spirit of the Whigs, &c., the Virtues of Sid Hamet, The Magician's Wand (directed against Godolphin); his Polite Conversations and Directions to Servants are savage attacks on the inanity of society small-talk and the greed of the menials of the period. But why prolong the list? From the Drapier's Letters, directed against a supposed fraudulent introduction of a copper currency known as "Wood's Halfpence", to his skit on The Furniture of a Woman's Mind, there were few topics current in his day, whether in politics, theology, economics, or social gossip, which he did not attack with the artillery of his wit and satire. Had he been less sardonic, had he possessed even a modicum of the bonhomie of his friend Arbuthnot, Swift's satire would have exercised even more potent an influence than it has been its fortune to achieve.
Pope died in 1744, Swift in 1745. During their last years there were signs that the literary modes of the epoch of Queen Anne, which had maintained their ascendency so long, were rapidly losing their hold on the popular mind. A new literary period was about to open wherein new literary ideals and new models would prevail. Satire, in common with literature as a whole, felt the influence of the transitional era. As we have seen, it concerned itself largely with ridiculing the follies and eccentricities of men of letters and foolish pretenders to the title; also in lashing social vices and abuses. The political enmity existing between the Jacobites and the Hanoverians continued to afford occasion for the exchange of party squibs and lampoons. The lengthened popularity of Gay's Beggars' Opera, a composition wherein a new mode was created, viz. the satiric opera (the prototype of the comic opera of later days), affords an index to the temper of the time. It was the age of England's lethargy.
After the defeat of Culloden, satire languished for a while, to revive again during the ministry of the Earl of Bute, when everything Scots came in for condemnation, and when Smollett and John Wilkes belaboured each other in the Briton and the North Briton, in pamphlet, pasquinade, and parody, until at last Lord Bute withdrew from the contest in disgust, and suspended the organ over which the author of Roderick Random presided. The satirical effusions of this epoch are almost entirely worthless, the only redeeming feature being the fact that Goldsmith was at that very moment engaged in throwing off those delicious morceaux of social satire contained in The Citizen of the World. Johnson, a few years before, had set the fashion for some time with his two satires written in free imitation of Juvenal—London, and The Vanity of Human Wishes. But from 1760 onward until the close of the century, when Ellis, Canning, and Frere opened what may be termed the modern epoch of satire, the influence paramount was that of Goldsmith. Fielding and Smollett were both satirists of powerful and original stamp, but they were so much else besides that their influence was lost in that of the genial author of the Deserted Village and Retaliation. His Vicar of Wakefield is a satire, upon sober, moderate principles, against the vice of the upper classes, as typified in the character of Mr. Thornhill, while the sketch of Beau Tibbs in The Citizen of the World is a racy picture of the out-at-elbows, would-be man of fashion, who seeks to pose as a social leader and arbiter of taste when he had better have been following a trade.
The next revival of the popularity of satire takes place towards the commencement of the third last decade of the eighteenth century, when, using the vehicle of the epistolary mode, an anonymous writer, whose identity is still in dispute, attacked the monarch, the government, and the judicature of the country, in a series of letters in which scathing invective, merciless ridicule, and lofty scorn were united to vigour and polish of style, as well as undeniable literary taste.
After the appearance of the Letters of Junius, which, perhaps, have owed the permanence of their popularity as much to the interest attaching to the mystery of their authorship as to their intrinsic merits, political satire may be said to have once more slumbered awhile. The impression produced by the studied malice of the Letters, and the epigrammatic suggestiveness which appeared to leave as much unsaid as was said, was enormous, yet, strangely enough, they were unable to check the growing influence of the school of satire whereof Goldsmith was the chief founder, and from which the fashionable jeux d'esprit, the sparkling persiflage of the society flâneurs of the nineteenth century are the legitimate descendants.[20] The decade 1768-78, therefore—that decade when the plays of Goldsmith and Sheridan were appearing,—witnessed the rise and the development of that genial, humorous raillery, in prose and verse, of personal foibles and of social abuses, of which the Retaliation and the Beau Tibbs papers are favourable examples. These were the distinguishing characteristics of our satiric literature during the closing decade of the eighteenth century until the horrors of the French Revolution, and the sympathy with it which was apparently being aroused in England, called political satire into requisition once more. Party feeling ran high with regard to the principles enunciated by the so-called "friends of freedom". The sentiments of the "Constitutional Tories" found expression in the bitter, sardonic, vitriolic mockery visible in the pages of the Anti-Jacobin,[21] which did more to check the progress of nascent Radicalism and the movement in favour of political reform than any other means employed. Chief-justice Mansfield's strictures and Lord Braxfield's diatribes alike paled into insignificance beside these deadly, scorching bombs of Juvenal-like vituperation, which have remained unapproached in their specific line. As an example take Ellis's Ode to Jacobinism, of which I quote two stanzas:—
"Daughter of Hell, insatiate power!
Destroyer of the human race,
Whose iron scourge and maddening hour
Exalt the bad, the good debase;