"[16]
Owing to the predominance of French literary modes in England, this was
the man whose influence, until nearly the close of last century, was
paramount in England even when it was most bitterly disclaimed.
Boileau's _Satires_ were published during 1660-70, and he himself died
in 1711; but, though dead, he still ruled for many a decade to come.
This then was the literary censor to whom English satire of the
post-Drydenic epochs owed so much. Neither Swift nor Pope was ashamed
to confess his literary indebtedness to the great Frenchman; nay,
Dryden himself has confessed his obligations to Boileau, and in his
_Discourse on Satire_ has quoted his authority as absolute. Before
pointing out the differences between the Drydenic and post-Drydenic
satire let us note very briefly the special characteristics of the
former. Apart from the "matter" of his satire, Dryden laid this
department of letters under a mighty obligation through the splendid
service he rendered by the first successful application of the heroic
couplet to satire. Of itself this was a great boon; but his good deeds
as regards the "matter" of satiric composition have entirely obscured
the benefit he conferred on its manner or technical form. Dryden's four
great satires, _Absalom and Achitophel_, _The Medal_, _MacFlecknoe_,
and the _Hind and the Panther_, each exemplify a distinct and important
type of satire. The first named is the classical instance of the use of
"historic parallels" as applied to the impeachment of the vices or
abuses of any age.
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