was extremely disturbed by this attack upon him; the more so, as he seems hardly to have understood its tendency.  He seriously complains, that he is represented by Dryden as an Irishman, “when he knows that I never saw Ireland till I was three-and-twenty years old, and was there but for four months.”  He had understood Dryden’s parable literally; so true it is, that a knavish speech sleeps in a foolish ear.

“Mac-Flecknoe,” though so cruelly severe, was not the only notice which Shadwell received of Dryden’s displeasure at his person and politics.  “Absalom and Achitophel,” and “The Medal,” having been so successful, a second part to the first poem was resolved on, for the purpose of sketching the minor characters of the contending factions.  Dryden probably conceiving that he had already done his part, only revised this additional book, and contributed about two hundred lines.  The body of the poem was written by Nahum Tate, one of those second-rate bards, who, by dint of pleonasm and expletive can find smooth lines if any one will supply them with ideas.  The Second Part of “Absalom and Achitophel” is, however, much beyond his usual pitch, and exhibits considerable marks of a careful revision by Dryden, especially in the satirical passages; for the eulogy on the Tory chiefs is in the flat and feeble strain of Tate himself, as is obvious when it is compared with the description of the Green-Dragon Club, the character of Corah, and other passages exhibiting marks of Dryden’s hand.

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,