But if the Second Part of "Absalom and Achitophel" fell below the first in its general tone, the celebrated passage inserted by Dryden possessed even a double portion of the original spirit. The victims whom he selected out of the partisans of Monmouth and Shaftesbury for his own particular severity, were Robert Ferguson, afterwards well known by the name of The Plotter; Forbes; Johnson, author of the parallel between James, Duke of York, and Julian the Apostate; but, above all, Settle and Shadwell, whom, under the names of Doeg and Og, he has depicted in the liveliest colours his poignant satire could afford. They who have patience to look into the lampoons which these worthies had published against Dryden, will, in reading his retort, be reminded of the combats between the giants and knights of romance. His antagonists came on with infinite zeal and fury, discharged their ill-aimed blows on every side, and exhausted their strength in violent and ineffectual rage. But the keen and trenchant blade of Dryden never makes a thrust in vain, and never strikes but at a vulnerable point. This, we have elsewhere remarked, is a peculiar attribute of his satire;[24] and it is difficult for one assailed on a single ludicrous foible to make good his respectability though possessed of a thousand valuable qualities; as it was impossible for Achilles, invulnerable everywhere else, to survive the wound which a dexterous archer had aimed at his heel. With regard to Settle, there is a contempt in Dryden's satire which approaches almost to good-humour, and plainly shows how far our poet was now from entertaining those apprehensions of rivalship, which certainly dictated his portion of the "Remarks on the Empress of Morocco." Settle had now found his level, and Dryden no longer regarded him with a mixture of rage and apprehension, but with more appropriate feelings of utter contempt. This poor wight had acquired by practice, and perhaps from nature, more of a poetical ear than most of his contemporaries were gifted with. His "blundering melody," as Dryden terms it, is far sweeter to the ear than the flat and ineffectual couplets of Tate; nor are his verses always destitute of something approaching to poetic fancy and spirit. He certainly, in his transposition of "Absalom and Achitophel," mimicked the harmony of his original with more success than was attained by Shadwell, Buckingham or Pordage.[25] But in this facility of versification all his merit began and ended; in our author's phrase,
"Doeg, though without knowing how or why,
Made still a blundering kind of melody;
Spurred boldly on, and dashed though thick and thin,
Through sense and nonsense, never out nor in;
Free from all meaning, whether good or bad,
And, in one word, heroically mad.
He was too warm on picking-work to dwell,
But faggoted his notions as they fell,
And, if they rhymed and rattled, all was well."
Ere we take leave of Settle, it is impossible to omit mentioning his lamentable conclusion; a tale often told and moralised upon, and in truth a piece of very tragical mirth. Elkanah, we have seen, was at this period a zealous Whig; nay, he was so far in the confidence of Shaftesbury that, under his direction, and with his materials, he had been intrusted to compose a noted libel against the Duke of York, entitled, "The Character of a Popish Successor." Having a genius for mechanics, he was also exalted to be manager of a procession for burning the Pope; which the Whigs celebrated with great pomp, as one of many artifices to inflame the minds of the people.[26] To this, and to the fireworks which attended its solemnisation, Dryden alludes in the lines to which Elkanah's subsequent disasters gave an air of prophecy:—
"In fireworks give him leave to vent his spite,
Those are the only servants he can write;
The height of his ambition is, we know,
But to be master of a puppet-show;
On that one stage his works may yet appear,
And a month's harvest keeps him all the year."
Notwithstanding the rank he held among the Whig authors,[27] Settle, perceiving the cause of his patron Shaftesbury was gradually becoming weaker, fairly abandoned him to his fate, and read a solemn recantation of his political errors in a narrative published in 1683. The truth seems to be, that honest Doeg was poet-laureate to the city, and earned some emolument by composing verses for pageants and other occasions of civic festivity; so that when the Tory interest resumed its ascendency among the magistrates, he had probably no alternative but to relinquish his principles or his post, and Elkanah, like many greater men, held the former the easier sacrifice. Like all converts, he became outrageous in his new faith, wrote a libel on Lord Russell a few days after his execution; indited a panegyric on Judge Jefferies; and, being tam Marte quam Mercurio, actually joined as a trooper the army which King James encamped upon Hounslow Heath. After the Revolution, he is enumerated, with our author and Tate, among those poets whose strains had been stifled by that great event.[28] He continued, however, to be the city-laureate;[29] but, in despite of that provision, was reduced by want to write plays, like Ben Jonson's Littlewit, for the profane motions, or puppet-shows, of Smithfield and Bartholomew fairs. Nay, having proceeded thus far in exhibiting the truth of Dryden's prediction, he actually mounted the stage in person among these wooden performers, and combated St. George for England in a green dragon of his own proper device. Settle was admitted into the Charterhouse in his old age, and died there in 1723. The lines of Pope on poor Elkanah's fate are familiar to every poetical reader:—
"In Lud's old walls though long I ruled, renowned
Far as loud Bow's stupendous bells resound;
Though my own aldermen conferred the bays,
To me committing their eternal praise,
Their full-fed heroes, their pacific mayors,
Their annual trophies and their monthly wars;
Though long my party built on me their hopes,
For writing pamphlets, and for roasting popes;
Yet lo! in me what authors have to brag on!
Reduced at last to hiss in my own dragon.
Avert it, heaven! that thou, or Cibber, e'er
Should wag a serpent-tail in Smithfield fair!
Like the vile straw that's blown about the streets,
The needy poet sticks to all he meets;
Coached, carted, trod upon, now loose, now fast,
And carried off in some dog's tail at last."
As Dryden was probably more apprehensive of Shadwell, who, though a worse poet than Settle, has excelled even Dryden in the lower walks of comedy, he has treated him with sterner severity. His person, his morals, his manners and his politics, all that had escaped or been but slightly touched upon in "Mac-Flecknoe," are bitterly reviewed in the character of Og; and there probably never existed another poet, who, at the distance of a month, which intervened between the publication of the two poems, could resume an exhausted theme with an energy which gave it all the charms of novelty. Shadwell did not remain silent beneath the lash; but his clamorous exclamations only tended to make his castigation more ludicrous.[30]
The Second Part of "Absalom and Achitophel" was followed by the "Religio Laici," a poem which Dryden published in the same month of November 1682. Its tendency, although of a political nature, is so different from that of the satires, that it will be most properly considered when we can place it in contrast to the "Hind and Panther." It was addressed to Henry Dickinson, a young gentleman, who had just published a translation of Simon's "Critical History of the New Testament."
As the publication of the two Parts of "Absalom and Achitophel," "The Medal," and "Mac-Flecknoe," all of a similar tone, and rapidly succeeding each other, gave to Dryden, hitherto chiefly known as a dramatist, the formidable character of an inimitable satirist, we may here pause to consider their effect upon English poetry. The witty Bishop Hall had first introduced into our literature that species of poetry; which, though its legitimate use be to check vice and expose folly, is so often applied by spleen or by faction to destroy domestic happiness, by assailing private character. Hall possessed a good ear for harmony; and, living in the reign of Elizabeth, might have studied it in Spenser, Fairfax, and other models. But from system, rather than ignorance or inability, he chose to be "hard of conceit, and harsh of style," in order that his poetry might correspond with the sharp, sour, and crabbed nature of his theme.[31] Donne, his successor, was still more rugged in his versification, as well as more obscure in his conceptions and allusions. The satires of Cleveland (as we have indeed formerly noticed) are, if possible, still harsher and more strained in expression than those of Donne. Butler can hardly be quoted as an example of the sort of satire we are treating of. "Hudibras" is a burlesque tale, in which the measure is intentionally and studiously rendered as ludicrous as the characters and incidents. Oldham, who flourished in Dryden's time, and enjoyed his friendship, wrote his satires in the crabbed tone of Cleveland and Donne. Dryden, in the copy of verses dedicated to his memory, alludes to this deficiency, and seems to admit the subject as an apology:—
"O early ripe! to thy abundant store
What could advancing age have added more!
It might (what nature never gives the young)
Have taught the numbers of thy native tongue.
But satire needs not those, and wit will shine
Through the harsh cadence of a rugged line."