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Rh on his side of the question. And Dryden manifested much fun and good humour in his attacks on his most vehement enemies. We might instance some of his sarcasms against Shadwell, and we might add such a remark as the following on Shaftesbury: "I have not so much as an uncharitable wish against 'Achitophel,' but am content to be accused of a good-natured error, and to hope with Origen that the devil himself may at last be saved." It is strange to observe what a similarity there is between the calumnies which he and Pope provoked by their satiric vein. They were both arraigned as unsound in politics and religion, as mere versifiers, and accused of tricking their subscribers with bad translations of the two epics. They were both called apes, asses, frogs, cowards, knaves and fools.

The mention of Pope's name suggests a few brief observations on the points of comparison and contrast in their several writings. As far as their morality is concerned, if it be the duty of the satirist to attack vice and expose folly in the main, to make the bad his enemies rather than his enemies bad, we must assign to Pope a higher place than we can to Dryden. If, also, wit, irony, ridicule, be rather than indignant invective and earnest declamation the proper voice of satire, then too, on this ground, must we give to Pope the pre-eminence. Take almost any passages from their writings, and we shall find that such are their distinguishing characteristics as satirists. The satire of Pope, is a burnished Damascus blade. It glitters while it wounds, but the wound is incurable. Whereas that of Dryden is a huge mace, wielded with the strength of a giant, and sometimes raised to kill a dwarf.

In attempting to estimate the character and career of this Poet, must we not admit that there is neither in the tone or the other anything sublime or noble to stir our enthusiasm or excite our love? We cannot dwell on his memory as we do on that of Shakespeare and of some of